

'mL 




LIBRARY OF CONGRESS. 



Shelf ...Jy\...^ 



UNITED STATES OF AMERICA. 



PHYSICAL EDUCATION 



IN THE 



PUBLIC SCHOOLS 



AN ECLECTIC SYSTEM OF EXERCISES, INCLUDING THE DELSARTEAN 
PRINCIPLES OF EXECUTION AND EXPRESSION 



BY 

R. ANNA "morris 
I f 

FORMERLY SUPERVISOR OF PHYSICAL CULTURE AND READING, DES MOINES, IOWA 



><^sS5 



trn 



S77.1 



NEW YORK •:• CINCINNATI •:• CHICAGO 

AMERICAN BOOK COMPANY 






Copyright, 1892, bv 
AMERICAN BOOK COMPANY 






THIS MANUAL IS AFFECTIONATELY DEDICATED 
TO 

MISS MARGARET GLISAN, 

TO WHOM 

AS MY FORMER PRINCIPAL AND LOYAL FRIEND I AM GREATLY 

INDEBTED FOR HER EVER READY APPRECIATION, 

ENCOURAGEMENT AND SYMPATHETIC 

COUNSEL. 

The Author. 



TABLE OF CONTENTS. 

PAGE 

Quotations, .7 

Introduction, 9 

Graded Course of Practice, 14 

Preliminary Suggestions, .18 



PART I. 

General Positions and Drills, .19 

Manner of Conducting a Class Drill, ....... 23 

Chest Expansion, ........... 24 

Breathing, ............ 24 

Exercises-in Breathing, . . . , . . . » . .27 
Standing, ............ 30 

Harmonic Poise, ........... 32 

Walking, .,...,,..... 33 

Francois Delsarte and his Teachings, 35 

The Relaxing Exercises, .......... 36 

Movements Explained, . . . . . . . . . .37 

Feather Movements, . . . . . . . . ... 39 

Movements Explained, .......... 40 

Graded Section, 43 

Terras Defined, ........... 44 

Parts of the Body and their Movements, ...... 45 

Physical Conditions and Measurements, ...... 47 

Primary and Kindergarten Games, ....... 48 

First Grade, 52 

Second Grade, . . . . . . . . . . .55 

Third Grade, *. . . . .58 

Fourth Grade, ........... 61 

Fifth Grade, . 64 

Sixth Grade 68 

Seventh and Eighth Grades, ......... 72 

Marching 77 

Commands Explained, .......... 78 

Fancy Steps, 81 

Irving School March Drill, 84 

(5) 



TABLE OF CONTENTS. 



Studies in Dklsarte Expression. 

Postures, 

Exercises in Posture, 
Apparatus Drills, 

Wands, . 

Indian Clubs, . 

Rings, 

Dumb-Bell Series, . 

Fencing, . 

Recess Recreations, 
Miscellaneous Suggestions, 

Bowing, . 

Hand-Shaking, 

^Esthetic Exhibition Drills. 

Courteous School Deportment, 

Bathing, . 

Diet, 

Alcohol and Tobacco. 



PAGIi 

94 
94 
96 
107 
107 
114 
122 
128 
131 
134 
138 
138 

139 
141 

143 

145 
146 

147 



PART II. 

Reading and Declamation, 150 

Reading, . . . . .150 

Articulation, ..........._ j^^ 

Declamation, , . . . . . . , . . . .156 

Music 161 

Tam O'Shanter Run, .......... 161 

Recreation March. ........... 162 

Rintelman's Grand March. ......... 164 

Corn Flower Waltzes, . , . . . . . . . .168 

Breeze of Night, 170 

lllusioni, . . 174 

The Shepherd Boy, . ......... 177 

The Darkie's Dream. . . . . . . . . . .178 

Flower Song, ............ 181 

Silver)' Waves, ........... 184 

Love's Dreamland, . . . . . . . . . . . 188 



'* The three principles of our being— -life, the sensitive state, mind, the intel- 
lectual state, and soul, the moral state — form a trinity, the elements of which, 
though distinctive, cannot be separated. They interpenetrate, interlace, corre- 
spond with, and embrace each other, and must, each and all, be harmoniously 
cultivated to reach the best possibilities of human existence." — Delsarte. 

'• A perfect body makes a chariot in which a heroic soul may well be proud to 
ride." — Henry Ward Beecher. 

" For of the soul the body form doth take, 
For soul is form and doth the body make." 

Herbert Spencer. 

" An education to be complete must be threefold— mental, moral, and physi- 
cal. All are of equal importance." — Mrs. L. M. Wilson. 

" The body is not an end in itself, but must be trained to be the able and 
obedient servant of the mind; then it becomes a thing of power and dignity." — 
W. W. Parsons. 

" Grace was in all her steps, heaven in her eye, 
In every gesture dignity and love." 

John Milton. 

*' In this day no system of education is complete without the training of the 
physical powers as well as the mental. A strong mind in a weak body is necessarily 
crippled. A strong body with an unmatured mind is seriously limited. We are 
endeavoring to educate the mind and body in harmony. The system of physical 
culture in our schools promotes the well-being of the child, improves his manners, 
secures better conditions for his other studies, and helps to build him into a more 
symmetrical life." — W. M. Beardshear. 

(7) 



PHYSICAL EDUCATION 



INTRODUCTION. 

Within the last few years the subject of physical education 
has been growing in interest, until now the best educators con- 
cede it a place in schools of every class, from the kindergarten 
to the college. Teachers are beginning to feel a responsibility 
for the physical condition of their pupils, and with the true 
spirit of progress are reaching out after helps ih this new work. 

It is with the hope of aiding my fellow-teachers that I send 
out this little book of instruction, which is the outgrowth of 
four years of experience in grading and suiting the work to 
the needs and conveniences of the public schools of Des 
Moines, Iowa. The entire course is based upon practice, not 
theory, and has borne the actual test of regular schoolroom 
work. 

Recognizing the fact that without the living teacher it is 
very difficult to convey instruction in a way to be easily under- 
stood and followed, I have taken great pains to give my direc- 
tions simply and plainly, unhampered by technical phraseology, 
and so clearly stated that they may be understood even by 
those who are untrained in the work. 

Believing that the growing time is the period in which to 
form habits of health, and teach a greater reverence for the 
sanctity of the body, we begin the care and training of the 
physical being with the child's advent into school. Into his 
mind we instill a kind of body worship and love for the pure 
and the beautiful, and a pride in physical strength and control, 

(9) 



lO PHYSICAL EDUCATION. 

as a safeguard against bad habits, appetites, and all vices that 
degrade the flesh. 

Simple recreative pla\' rests the child from study, but it 
does not give him the equal and regular exercise which brings 
into action weak and little-used parts of the body, and devel- 
ops the whole being. Superintendent Powell, of Washington, 
D. C, says: "Exercise is not cultivation, but exercise specifi- 
cally directed and methodically taken is ctdtivationy 

In order to secure the best results, the drills must have an 
appointed time, and be as certainly carried out as any other 
lesson. If properly conducted, and associated with agreeable 
thoughts as well as simple duty, the exercise will be to the 
children a source of pleasure as well as a means of improve- 
ment. 

Earnestness and decision are imperative elements in suc- 
cessful practice ; so also is cheerfulness. I believe, with the old 
Hebrew king, that " A merry heart doeth good like a medicine ;" 
and have faith in the proverb, '' Laugh and grow fat." Health- 
ful nature laughs as easily as the birds sing. When a child's 
laugh rings out like an echo of music from heaven, it is a proof 
that his sides, stomach, and diaphragm are getting a good shak- 
ing up, and that the influence of the laugh is spreading its sun- 
shine within, as well as without. 

I have no sympathy with the kind of instruction which 
deals out only the dry bones of mechanical practice, without 
suggestions of its application to real life and beauty in art. 
The mind must be awakened to a keen appreciation of the need 
of a good body. This can be done by telling the children 
stories in which the care, cleanliness, and health of the body 
bear an important part. For instance, read to them the story 
of a cripple or of an invalid who has become such by neglect of 
the body, and make them thankful that they are well and 
strong. In every way teach them so to care for their bodies, and 
to have such pride in their preservation and power, as to keep 
them beautiful in form and free from degrading habits. We 
cannot impress too strongly upon the children the close and 



INTRODUCTION. II 

mutual relation of the mental, moral, and physical elements of 
existence. When once the child is taught the importance and 
language of movement, and its reflex action upon his character, 
he will no more shuffle his feet or slam the door than he will 
permit slang or profanity to pass his lips. 

First awaken in the mind an appreciation of the necessity 
for a good body, then practice to the end of developing the 
physical being becomes a pleasure. Boys can be won to ear- 
nest work by suggestions as to the importance of strength 
and manliness. They can easily be led to see the commercial 
value put upon a good form and courteous bearing by the busi- 
ness world. Tell them of the boy whose healthful, gentlemanly 
appearance won him the position over a crowd of careless, 
slouching competitors. 

Girls are pleased with the attainments of grace and beauty, 
while all acknowledge the universal demand for health and 
good manners. 

In adapting the work to the public schools, where the 
needs of the children are so varied, I have formulated an eclec- 
tic system, based upon the Delsartean principles of freedom, 
strength, and expression. This I have supplemented by the 
more vigorous movements with apparatus, for the purpose of 
cultivating strength and precision. By this system the body 
first is freed from stiffness, sluggishness, and bad habits, then 
it is strengthened to. control, and made ready to yield itself to 
the service of the mind and soul in expression. 

Expression or gesture, which is the universal dumb language 
of the world, is the visible manifestation of the mind and soul 
through the powers of the body, and should be guarded with 
even greater care than oral speech. 

Morals and manners can be taught in no better way than in 
connection with physical training. Our little children are learn- 
ing lessons that will stay with them through life, when they 
repeat understanding^ such mottoes as : 

"Actions speak plainer than words." 

" Watchful eyes read motions, and motions tell our thoughts." 



12 PHYSICAL EDUCATION. 

"We must guard well our thoughts, for they are known in heaven, 
and people see them in our faces and movements." 

" We grow and act like that which we think about, so let us think of the 
good, the true, and the beautiful." 

" We must train our bodies to be strong and pure, and to tell our good 
thoughts, but smother our bad ones." 

These little precepts tend to cultivate the attention, and 
they save many an unnecessary question. 

In giving my instructions I have followed those general 
principles which are used by other teachers in college, gymna- 
sium, and society work, but have in every way endeavored to 
make their use practical in the public schools. The arrange- 
ment of the seated schoolroom necessarily places a limitation 
upon the use of many features of the general work which may 
be employed outside. 

So far as it has been possible to do so, we have used music 
in connection with the work. The exhilaration of a musical 
accompaniment not only adds a charm to the practice, but is of 
use in taking the mind of the pupil away from himself, and 
rendering him less self-conscious. In many instances the drills 
have been executed to music on the French harp, played by 
some member of the school. We have been fortunate in hav- 
ing kindergarten rooms in most of our school-buildings, in 
which the pupils from the different rooms have been permitted 
to take weekly or serni-weekly afternoon turns in practicing to 
music. 

The teachings of Miss E. L. Burns, of New York (now Mrs. 
A. C. Gunter), Miss Anna Morgan, of Chicago, and Mrs. C. E. 
Bishop, of Chautauqua, N. Y., have inspired me to a more 
thoughtful and practical consideration of the Delsarte philos- 
ophy. 

Many of my movements in the apparatus drills are used by 
permission of Dr. W. G. Anderson, President of the Brooklyn 
Normal School of Physical Culture, from which school I grad- 
uated in the course of study and practice. 

Most gratefully do I acknowlecige the encouraging support 



INTRODUCTION. '13 

accorded me by my superintendent and the principals, and 
especially the teachers, who from day to day have so faithfully 
carried out my plans, and given me useful suggestions. 

In bringing this little book before my fellow-teachers, I crave 
for it their kind consideration and careful study, and trust it 
may prove helpful in hastening the introduction of physical 
culture into all public schools. I hope it may guide in disci- 
plining the children in grace, strength, and trueness of expres- 
sion, and that its teachings may assist in making them grow up 
into more perfect types of noble manhood and womanhood. 

2 



GRADED COURSE OF PRACTICE. 

The following outline provides for a complete graded course 
extending from the first year to the High School. It can be 
followed with great advantage by teachers who have but 
one grade in a room at one time. Where there are two or 
more grades to be taught at the same time, the exercises for 
the various grades may be combined at the discretion of the 
teacher. 

" The General Positions and Drills " (page 19), '' Walking " 
(page 33), '' Breathing Exercises " (page 27), and '' Foot Plac- 
ings" and "Arm Positions" (page 46) are to be practiced 
throughout all of the grades. 

First Grade. 
First Half of the Year. 

Graded Section, First Grade — First and Second Series. (Pages 52, 

Marching, including Commands from I. to X. (Page 77.) 
Primary Games. (Page 48.) 

Second Half of the Year. 

Graded Section, First Grade — Third Series. (Page 55.) 
Marching, Commands from X. to XV. (Page 78.) 
Review of the year's work. 

Second Grade. 
First Half of the Year. 

Graded Section, Second Grade — First and Second Series. (Pages 55, 
56.) 

Marching, Commands from XV. to XX. (Page 78.) 
Pronouncing Proper Names. (Page 156.) 
(14) 



GRADED COURSE OF PRACTICE. 15 

Second Half of the Year. 

Graded Section, Second Grade — Third Series. (Page 57.) 
Front and Side Feather Movements. (Pages 40, 41.) 
Review of the year's work. 

Third Grade. 
First Half of the Year. 

Graded Section, Third Grade — First and Second Series. (Pages 58, 59.) 

Poising. (Page 32.) 

Marching, Commands from I. to XXV. (Pages 'j'j , 78.) 

Second Half of the Year. 

Walking. (Page ^^.) 

Graded Section, Third Grade — Third Series. (Page 60.) 

Relaxing Exercises. (Page 59.) 

Review of the year's work. 

Fourth Grade. 
First Half of the Year. 

Graded Section, Fourth Grade — First and Second Series. (Pages 61, 
62.) 

Feather Movements, Front, Side, and Horizontal. (Pages 40, 41.) 
Wands, First Series. (Page 108.) 

Second Half of the Year. 

Graded Section, Fourth Grade — Third Series. (Page 63.) 

Relaxing Exercises. (Page 36.) 

Wands, First Series, continued. (Page 108.) 

Review of the year's work. 

Fifth Grade. 
First Half of the Year. 

Graded Section, Fifth Grade — First and Second Series. (Pages 64, 65.) 

Bowing. (Page 138.) 

Going Up and Down Stairs. (Page 81.) 

Dumb Bells, First Series (optional). (Page 128.) 

Articulation. (Page 153.) 

Concert Declamation, with Gesture. (Page 158.) 



1 6 PHYSICAL EDUCATION, 

Second Half of the Year. 

Graded Section, Fifth Grade— Third Series. (Page 67.) 

Dumb Bells, continued. (Page 128.) 

Marching (optional). (Page T] ) 

Feather Movements. (Page 39.) 

Articulation. (Page 153.) 

One Concert Declamation, with Gesture. (Page 158.) 

Sixth Grade, 
First Half of the Year. 

Graded Section, Sixth Grade— First and Second Series. (Pages 68, 69.) 

Fancy Steps. (Page 81.) 

Review Feather Movements. (Page 39.) 

Hand-shaking. (Page 139.) 

Wands. Second Series (page in) ; or Poles. (Page 113.) 

Articulation. (Page 153.) 

One Concert Declamation, with Gesture. (Page 158.) 

Second Half of the Year. 

Graded Section, Sixth Grade— Third Series. (Page 70.) 

Postures, Four Groups. (Pages 96-98,) 

First Series, Rings, with March and Fancy Steps. (Page 122.) 

Articulation. (Page 153.) 

One Concert Declamation, with Gesture. (Page 158.) 

Seventh and Eight J i Grades. 
First Half of the Year. 

Graded Section, Seventh and Eighth Grades — F irst Series. (Page 72.) 
Review Poising and Walking. (Pages 32, 33.) 
Indian Clubs. (Page 114) 

One Concert Declamation, with Studies in Expression and Gesture. 
(Page 158.) 

Second Half of the Year. 

Graded Section, Seventh and Eighth Grades — Second and Third Series, 
(Pages 73-76.) 

Girls.— The Ring Drill, Second Series. (Page 126.) 
Boys.— Irving School March Drill. (Page 84.) 
Delsarte Posture Drill. (Page 94.) 
One Concert Declamation and Gesture. (Page 158.; 



GRADED COURSE OF PRACTICE. 1/ 

High School. 

The Entire Number of Delsarte Expression Drills. (Pages 94-106.) 
Indian Clubs, continued. (Page 114.) 
Fencing. (Page 131.) 

A Choice of Other Apparatus Drills. (Pages 107-137.) 
Special Lessons in Breathing, Voice Culture, and Articulation. (Pages 
50-156.) 

Reading, Declamation, and Gesture. (Pages 150-160) 

P. E.-2 



PRELIMINARY SUGGESTIONS. 

Ventilate the room well, and keep the temperature, while 
exercising, at from 65 to 68 degrees. 

It is best to seat the pupils of the same height in the same 
rows. 

The muscles should be carefully and gradually stretched, 
not suddenly or violently jerked. We believe in training, not 
in straining the physical being. 

The pupil most easily tired by these exercises is the one 
who needs them most ; therefore use great care with such 
a pupil at first. 

It is highly essential that the teacher of the school should 
learn to execute the movements. Dr. Seaver, of Yale, says : 
" Show firmness and decision in conducting the exercises ; it is 
no condescension to correct a fault. Point out errors and win 
thanks in strong, pleasant ways." Keep the pupils cheerful, 
interested, and earnest while exercising. 

To bring about the most gratifying results, at least from 
fifteen to twenty minutes must be spent in the regular daily 
practice, while in the meantime the pupils and teacher should 
keep a close watch over their carriage, movements, and positions, 
introducing, as far as possible, the teachings of the lessons in 
physical culture into the regular routine of every-day work. 

Whenever the pupils are required to pass in line to and from 
the room, or on the stairs, each pupil should keep his *' dis- 
tance," and carry himself in an erect, graceful manner. 

The teaching of self-respect and of a proper personal pride 
should bear its part in a training that leads to correct deport- 
ment. 

" In praise sparing- be, 
And blame most sparingly." 
(18) 



Part I. 



GENERAL POSITIONS AND DRILLS. 

1. First Position, Sitting. — i. Feet on the floor, heels and 
knees together, toes turned out. 

2. Body well back in the seat and erect, not touching front 
or back. 

3. Hands folded on the edge of the desk, left over right. 

4. Chest up. 

5. Shoulders falling equally level. 

6. Eyes to the front. 

7. Mouth closed. 

Remarks. — With each point should be given a reason which should be 
thoroughly explained, then drilled upon, until it is stamped in the minds 
of the children. 

Be sure that the body is well back in the seat ; it will be better sup- 
ported, and more ready for action. Tell the little children to "sit as tall 
as they can." 

The left hand is placed over the right to give it preference in use ; 
only the primary children need be required to fold their hands on the desk. 

The primary children must be taught the simple anatomy of the chest, 
its contents, and what forms the walls. 

The right shoulder is usually lower than the left, because we are so 
right-handed and right-sided that by use the muscles are more hardened 
and contracted on the right side, and are therefore drawn downward. 
Advise the children to test the sensation of level shoulders at home before 
a mirror, so that they may be sure when they have the correct position. 

(19) 



20 PHYSICAL EDUCATION, 

In order to better understand the sensation of the correct position, 
it is well to assume an incorrect one, and slowly make the transition, not- 
ing the upliftins^ effect upon the moral feelings as well as on the physical 
being. 

Give the children little talks on the reflex influence of bodily'position on 
the moral nature. 

The management of the eyes should be carefully considered. Teach the 
children that their eyes are movable and round for a purpose, and that they 
can see around the room as much as is necessary when in their seats, with- 
out turning their heads. 

The mouth should be closed, so that the breathing may be carried on 
through the nose. Teach the primary children that the right road for the 
air to travel is through the nostrils, so that it may be warmed and purified 
before it enters the lungs. 

To quicken and cultivate the sense of hearing, give drills in counting 
sounds, detecting voices, inflections, and tones of pupils stationed outside 
the door. 

II. Rest Position, Sitting. — Slide one foot forward and 
the other back, rest the back against the seat and let the 
hands drop into the lap, but do not drop the chest or twist the 
shoulders. 

Remark. — Practice changing from " First Position " to " Rest Posi- 
tion, Sitting." This in itself makes an excellent exercise for quiet, prompt 
movement. 

III. Rising into the Aisle. — i. Slide the body to the 
edge of the seat, letting the hands drop into the lap. For 
small children an extra count may be given for dropping the 
hands, before sliding. 

2. Place the outside foot into the aisle, and rise beside the 
desk. 

3. Step back into the middle of the aisle, bringing the 
toes even with the front foot of the seat which has been 
occupied. 

Remark. — This position makes the lines regular in all directions, 
and prevents the pupil from striking the desk while practicing the side 
movements. 



GENERAL POSITIONS AND DRILLS, 



21 



IV. First Position, Standing. (See Figure i.) — i. Heels 

and knees together, toes apart at an angle of sixty degrees. 

2. Body erect, from hips inclining a little 
forward. 

3. Arms hanging naturally at the side, 
elbows near the body. 

4. Chest up. 

5. Shoulders level. 

6. Eyes to the front. 

7. Mouth closed. 

8. Weight on the balls of the feet. Posi- 
tion free from restraint. 



I,\^ 



V. SettingChest. — i. Place one hand on the 
waist line in front, the other 
K above it. (See Figure 2.) 

2. By muscular action 
of the waist and abdominal 
muscles raise the chest, as 
the hands are drawn back- 
ward and apart, as far as 
possible. 

3. Let the hands come 
"^~~^ • forward, and relax muscles. 

Repeat four times, drop- 
ping hands from the sides. 

VI. Testing. (See Figure 3.) — i. Place 
hands on hips, fingers forward. 

2. By bending forward at the neck only, 
if you can see your toes, your hips are 
thrown sufficiently back, but if you cannot 
see your toes, you must push the hips 
back until you can. 

3. Raise the head and chest. 

4. Drop hands to the side. 




22 



PH YSICA L ED VCA HON, 



This should leave the body in a good position, with chest 
up, hips modestly back, and weight on 
balls of the feet. 

VII. Rest Position, Standing. (See 
Figure 4.) — Step one foot backward once 
its length, rest the weight upon it, and 
poise the head over it. Fold the arms or 
drop them at side, keeping the hips back 
and the chest up. 

Remark. — Practice resting first on one foot 
then on the other, also 
changing from the First to 
the Rest Position, Stand- 
iftg. 

VIII. Sitting 
Down. — I. Step for- 
ward near desk. 

2. Sink gracefully into the seat, bending 
the body slightly forward as if courtesying. 

3. Take position as directed by teacher. 
Usually the " Rest Position " is taken on 

first sitting down. 

IX. Order of Opening a Lesson. — At 

the call ''Attention/ " ''Gymnastics f " 

1. The pupils take '' First Position " 
in seat, while the instructed monitors act 
promptly in raising at least two, and 
lowering all the windows. When the drill 
exercise is given by counts or to music, 
count one measure before rising. 

2. By counts the pupils rise, and test 
position. 

3. Begin the regular lesson. 





MANNER OF CONDUCTING A CLASS DRILL. 23 

X. Order of Closing a Lesson. — i. Test. Set chest- 
breathing exercise. 

2. " Position Rest, Standing," while the monitors close the 
windows. 

3. Sit by counts. Take ''Position Rest, Sitting." 

Terms Explained. — A step is the length of \\\&foot of the person step- 
ping. A charge is twice the length of a step, with front knee well bent 
and back leg straight, (See Figure 91.) A lunge (see Fencing) is a double 
charge. In swaying, the weight is changed from one foot to the other by 
bending and straightening the knees, while th& feet are kept in place. 

MANNER OF CONDUCTING A CLASS DRILL. 

In conducting a lesson, while the order and moves of the 
exercises are being learned, observe the following instructions : 

First. The teacher directs, and, until no longer necessary, explains 
the movements, the pupils the while keeping "First Position," and giv- 
ing perfect attention. 

Second. The teacher says ''Move,"' or, if it is measured execution, she 
counts ; the pupils may also count, while the school, led by the teacher or a 
drilled pupil, executes the commands. 

Third. The teacher says " Stop," or she ends the count, and the pupils 
take "First Position," keeping it until a change is called. 

When the order and moves have become familiar, the expla- 
nations and oral counts should be discontinued, the exercises 
thereafter beginning by signals. During the practice, the 
pupils must keep silent time with the leader, who should not 
blunder nor hesitate. 

Music should be used when possible. The rhythm and con- 
cord of movement is more easily kept to harmonious time. A 
familiar tune hummed in good time, or a French harp played 
by a willing boy, makes a pretty accompaniment, and can be 
furnished by almost any school. 

To cultivate attention and brighten the work, the teacher 
should sometimes surprise the pupils by calling or leading the 
movements irregularly; but the ultimate aim is to have the 



24 PHYSICAL EDUCATION, 

* 
pupils so thoroughly master the graded lessons, postures, and 
movements with apparatus, as to be able to give them in tlie 
regular order of succession, with correct time and counts. 

The three ways of conducting a class exercise in the 
sequence of practice, are : 

1st. By command, to train the mind to think promptly, and to cultivate 
attention through the hearing. 

2d. By imitatio7i, as "a follow," to cultivate attention through the eye. 

3d. Independe7tt drill. The pupils from memory execute the move- 
ments with correct order and time. 

CHEST EXPANSION. 

Make as much room as possible for fresh air, by expanding 
the chest, as well as the costal and abdominal muscles. The 
condition of the chest with relaxed muscles is passive ; the 
active condition is that assumed with chest raised and expanded. 

First Exercise. — While standing, practice changing from passive to 
active chest, by muscular action, without moving the shoulders or breath- 
ing. Let the movement begin from within and expand outward. Contract 
by the same law. 

Second Exercise. — Assume the standing position, bend the arms, 
placing them vertically and parallel with each other, palms outward ; clinch 
hands as high as shoulders, then bring the arms forward, opening hands 
and turning palms in ; touch little fingers and elbows together if you can ; 
draw them back to first position, pulling downward and backward strongly, 
and raising chest. 

BREATHING, 

INCLUDING EXERCISES FOR STRENGTHENING THE VOICE. 

Few persons breathe deeply, or in such a manner as to 
induce strong physical vitality. As children stoop over their 
books, the cramped position of the lungs renders full, regular 
breathing almost impossible. In order to give the breathing 
apparatus freedom and power, an erect position should be 
maintained du/ing study hours. 

It ought to be superfluous to say that pure air is essential to health, but 
the hygienic conditions under which too many people are willing to exist 



BREA THING. 



25 



prove that it is not. Teachers should not neglect to exercise care in the 
matter of ventilation.. Several times through the day they should throw 
open their doors, and the windows from above and below, while they 
engage the pupils in vigorous breathing exercises. Especially should the 
windows be lowered from above, because it is a well-known fact that foul 
air from respiration, being warm, rises to the top of the room, and if there 
is no means for its escape, it will hang like a destructive cloud over the 
heads of the children, poisoning their bodies and dulling their brains. 

We want fresh air in the home as well as in the school, for teachers 
may do all they can for the health of their pupils, and yet their care may 
prove a failure, if the children live in close, stuffy homes, with badly ven- 
tilated sleeping rooms. 

Henry Ward Beecher once said : " We would scorn with ineffable dis- 
gust to eat from a plate and with a fork and spoon which another had just 
left, but we will breathe over and over again the pernicious air sent out from 
other people's lungs, as if it were a precious morsel." 

Breathing consists of inspiration and expiration, which alter- 
nately fill and empty the minute air-cells of 
the lungs. The force that carries on the 
operation is the expansion and contraction 
of the ribs, the abdominal and the waist mus- 
cles, acting upon the immediate agent, the 
diaphragm. This is a large, strong muscle 
that forms the partition between the thoracic 
and the abdominal cavities. It contracts and 
is drawn downward in inspiration, expanding 
the waist. (See dotted lines in Figure 5.) 
The solid line across the body represents the 
position of the diaphragm in expiration or 
inactivity. Figuratively the diaphragm is the 
bellows of the breathing apparatus, and is 
capable of great cultivation in strength and 
control. 

The work of strengthening and enlarging 
the lungs, chest, and entire breathing appa- ' ^ 

ratus must be commenced on the inside. It 
is wrong to cultivate the outside muscles at the expense of 
the vital organs. The tissues of the lungs themselves need 




20 PHYSICAL EDUCATION. 

strengthening. This can be done by expanding the ribs and 
waist muscles, increasing the action of the diaphragm, and care- 
fully filling the minute cells of the lungs with fresh air. Take 
a long breath of what is so freely given, as often as you can. 
Teach the mind to have a care over the muscular action, for 
there is a wonderful relation existing between mind and body. 
While practicing, try to become conscious of sensation 
throughout the lungs. Some people only half live, and are 
not aware of the existence of a great part of the body, 
excepting when it is attacked by pain. They never feel life in 
their lungs and internal tissues, or get from them the glorious 
sensation of health and strength. 

It is better to have the breathing exercises follow the body drills, because 
then the circulation has been equalized throughout the system, and there is 
less danger of injuring the delicate tissues by a strong rush of blood to the 
lungs. 

If, while practicing, there is felt a dizziness, or an abnormal quickening 
of the heart-beats, it would be well to moderate the practice and take fre- 
quent rests between efforts, until the feeling is overcome. Most' of such 
cases will yield to careful, regalar practice. 

In respiration^the attainment of a long, steady breath is an evidence of 
strength, and strength that endures. To gain this, at first practice con- 
scious breathing slowly, by counting perhaps twelve, or as few breaths to 
a minute as can be comfortably taken ; then as the lungs grow stronger and 
larger the breaths will increase in length. 

Conscious breathing is necessary just long enough to establish the habit 
of correct respiration. After this the mind need have but little care over 
the operation, yet it will be well for a few minutes a day to use an exag- 
gerated practice. 

Breathing, which stands at the very doorway of healthful development, 
has an obstacle in its way in the form of ill-fitting, badly-planned clothing. 
All of the breathing exercises, to be helpful, must be taken in garments 
that do not in any way compress the vital organs. The neck, the chest 
and the waist must be left free for action. It is of but little use to advo- 
cate correct breathing unless provisions are made for its practice. 

Our girls need clothes adapted to the person, such as are planned for 
beauty as well as utility, and so fitted as to hang from the shoulders, and 
not press the stomach and contents of the abdomen down out of their natu- 
ral position, nor contract the lower part of the lungs. 



EXERCISES IN BREATHING. 



27 



EXERCISES IN BREATHING. 

The right road for the air to travel in going to the lungs is 
through the nose, where it is warmed and purified. 

The '* First Position, Standing," will be used as the funda- 
mental position while breathing. 

Explain the physiology of the chest, the action of the diaphragm, waist 
muscles, and lungs. For the first month take these exercises sitting; bend 
forward at the hips and relax waist muscles before inhaling ; straighten up 
during exhalation. This position is discontinued as soon as the correct 
expansion and contraction of the costal and abdominal muscles can be con- 
trolled at will. 



While practicing, the pupils should place hands on waist 
muscles, at side, fingers forward nearly touching. (See Figure 6.) 
After the correct lung and muscular action 
has been established, the exercises may be 
taken with hands hanging at side. ^ '^ 

Teacher s Signals : Hand up — attention. 

Hand lowered — inhale. 
Hand raised — exhale. 
(By the signals given in this way the hand calls 
more prompt attention, and the movements suggest 
the action of the diaphragm in deep breathing.) 

Begin by counting ten for each inhalation 
and exhalation, increasing the time to twen- 
ty for primary and forty for grammar grades. 
Do not make any visible effort with the 
chest, but hold it up and keep the shoul- 
ders down when breathing. Expand the 
waist and rib muscles for inhalation, and 
contract them for exhalation. Inhale through the nose, 

1. Inhale — exhale. 

2. Inhale — exhale — sigh; open mouth wide. 

3. Inhale — exhale — ah ; swell throat open wide. 

4. Inhale — exhale — sh ; wh. 




28 PHYSICAL EDUCATION. 

5. Inhale — exhale. Blow Bugle Note.'^ Practice tunes. 

6. Inhale — exhale — oJi ; swelling the tone in the middle. 

7. Inhale — exhale, scale smoothly on a/i and ok. 

8. Inhale — hold ; raise elbows, shoulder high, and tap upon 
the chest with fingers ; exhale. 

9. Inhale — hold ; tap with finger tips upon the back of the 
one in front while he leans forward ; exhale. 

10. Inhale — hold ; tap with finger tips upon the sides of the 
one in front while his hands are clasped over his head ; exhale. 

11. Panting; take a full breath and throw it out, sounding 
/i successively, several times. 

12. Perform an action as in swimming, raising the arms and 
bringing backs of hands together in front during inhalation, 
and sweeping them downward and back during exhalation. 

13. CaUk Breaths — breathe. Count i, 2, 3, 4, 5 ; breathe, 
count 6, 7, 8, 9, 10, etc. Continue until the signal is given to 
stop. 

14. A Continued Count. — Take a full, deep breath, and count 
clearly as many as possible without stopping. (For concert 
work the teacher must keep time by taps, or motions of the 
hand.) 

15. The Roimd. — By a signal all the class inhale at the same 
time. First row sound ah. Second row follow, and so on 
through the school, each row sustaining -its tone until the sig- 
nal is given for breathing again. The tones may be given in 
chords. 

16. Count and Sustain. — On a given pitch, taken from the 
piano, count i, 2, 3, 4, 5, and emit the remaining breath on ah 
sustained. 

17. Suspension. — Inhale very slowly, set the diaphragm, and 

* The Bugle Note contains no sound of voice or whistle, but is a vibrating bugle 
sound made by expelling the breath, with a strong action of the waist muscles and 
diaphragm, from the bottom of the lungs directly to the lips, which are protruded 
as in giving sh, with the soft inner muscles closely drawn together, as in giving w. 
The inner part of the lips vibrates with the outgoing breath, and produces the note. 
This note is an excellent test for deep breathing, and gives the lips a practice which 
aids in articulation and the placing of words when speaking. 



EXERCISES IN BREATHING. 29 

retain the breath while silently counting ten, then slowly let 
the diaphragm rise in correspondence with the emission of the 
breath. In vocalization economize the breath. 

18. Pronounce a series of numbers with a pause, a gentle 
expansion of the chest, and a short inhalation before each 
number. Continue perhaps ten counts, then exhale slowly. 
This is a very strong and difficult exercise. 

19. Raise the arms slowly to the chest, drawing a breath cor- 
responding in length to the time spent in raising the arms ; 
drop the arms slowly as the breath is released. 

20. Click the vocal chords, take a full breath, throw the head 
back, mouth open, and let the breath, without sound of breath- 
ing, pass out in small successive emissions, clicking the vocal 
chords. This is very restful to a tired voice. 

As an exercise to open the throat and strengthen the voice, close the 
mouth, swell the throat, and at the same time fill the lungs. Then open 
the mouth wide and sound ah, the while trying to hold the waist muscles 
out as long as possible. 

To sink the larynx, begin the tone e on i of the scale, and finish it with 
on 8 of the scale. 

For smoothness of voice, practice running the scale, lightly striking the 
syllable la or sea. 

For flexibility of voice, practice grouping tones or sounding triplets. 

To give power of voice, begin the tone softly and end with sustained 
force. 

To produce volume of sound, emit the breath with prolonged vocalization 
of tone : oh 

To produce a far-reaching strength of tone, send the breath out with 
explosive vocalization — Go iHng the bells ! 

In connection with these drills a great deal of attention should be given 
to exercises which open and clear the cavities of the nose. It is surprising 
how many children are victims of that disgusting and very hurtful disease, 
catarrh, which more often than not comes from a lack of proper care of the 
nasal cavities at all times, and more especially during periods of cold. 

It is as much a matter of cleanliness that the nasal passages be kept 
clean, as that the ears be washed, and is far more essential to health. 
No one would think of sending a child to school with dirty ears, yet he 
often comes with a nose so unclean that difficult breathing, a weakened 
voice, and a headache are the inevitable accompaniments. 



jO PHYSICAL EDUCATION. 

As a test for trying the condition of the nasal breathing apparatus, 
make a request for handkerchiefs, and give the following practice ; 

Inhale — with closed mouth forcibly throw the breath out through the 
nose. 

Inhale — with an explosive, quick motion i)ronounce ung, ending with a 
sniff. 

To determine the quality of tone I give the following sentence with words 
containing m, n, ng : " The inoon went down in the mortti?tg." If the 
nose is closed or diseased the sounds cannot be correctly given. Take the 
sentence, " I will go to school directly." If nasality is heard, it is the vocal 
organs and soft palate that are weak and at fault. 

For clearing the nasal passages nothing is more effective than a mild 
wash of borax and soft water. If the membrane is sensitive, use the solu- 
tion in a tepid state. It can be snuffed up through the nasal cavities until 
it passes into the mouth. This treatment is in no way hurtful, and the 
suggestion is not unpleasant, when compared with tiie thought of retaining 
the poison in the head and nose. 

To make a wash that will last for months, buy five cents' worth of lump 
borax, put it into a pint bottle, fill and refill the bottle with soft water (the 
borax dissolves very slowly), keep it on the washstand, where it may be 
seen and used as often as the toilet is made. 

STANDING. 

The following test is a good guide to a correct position. 

If one is well-formed and correctly poised, a straight line 
touching in front of the shoulder tip and point of hip bone will 
pass upward just in front of the ear, and downward touching the 
floor beside the ball of the foot upon which the weight is placed. 

To stand well the chest must be held up, the abdomen car- 
ried modestly back, and the weight placed upon the balls of both 
feet equally, one foot being slightly in advance of the other, or 
on one alone, with the other leg easily relaxed. Few persons 
possess the graceful art of standing well, and being able readily 
to transfer the weight from one foot to the other. The fault 
most common is either that of being too stiff in the one ex- 
treme, or too slovenly relaxed in the other. 

It is a great mistake to stiffen the spinal column, press the shoulder- 
blades back, and become, by muscular force, rigidly erect ; yet it is a still 
more egregious error to drop the shoulders, protrude the abdomen, and 



STANDING. 31 

collapse in such a way as to cramp the lungs and distort the body by 
weighing down the frame with sluggish flesh. 

Nothing can be more hurtful to health and grace than the habit of trying 
to force the bones alone to perform the work of supporting the body in an 
erect attitude. If the weight of the head and torso is thrown on the spinal 
column, it is no wonder that backaches result from the pressure. It is a 
positive injustice to the bones to make them carry the heavy weight of the 
muscles. The muscles are made to hold the body in place, and should be 
strengthened to do their share of carrying it. Especially should proper 
dependence be placed upon all of the various muscles around the chest, 
waist, and abdomen. They can be made very strong and helpful in the 
operation of breathing as well as maintaining the position, and above all 
things they should be left free to gain strength, and not be braced up and 
paralyzed with stays and bands. 

As one stands, there is much beauty to be expressed in a 
position of cultivated repose, and to lack this ease is to lack 
grace and reserve power. The quality of self-possession con- 
veys its impression largely by keeping the feet still and by be- 
ing able to deftly change the weight from foot to foot, to sway 
forward, backward, around and from side to side, with a simple 
ankle and hip movement, or a turn on the toes, without lifting 
the feet. 

The power to twist, sway, and poise, all from one base, gives 
to the human form a resemblance to the stately forest tree that 
moves and yields to the influence of the elements and yet re- 
mains steadfastly in position. 

In order to gain steadiness of body and grace of movement, 
practice rising on the toes and changing the placing of the 
weight or center of gravity. At the same time, keep the head 
and chest over or in sympathy with the placing of the weight, 
and the body in the opposite direction, in accordance with the 
laws of harmony and opposition. In other words, incline the 
body slightly away at the waist and hips, and carry the head 
over the center of gravity, and thus preserve in the form the 
three curves which compose the '' line of beauty." This line 
consists of two convex , curves formed by the head and legs, 
joined by a concave one formed by the body at the waist. 



32 PHYSICAL EDUCATION. 

HARMONIC POISE. 

" Harmony originates in contrast, and from it comes equilibrium." 

Order of Practice. 

(If music is used, slow march time is best.) 

Begin all exercises from the '' First Position," and finish with 
the same. 

Make changes very slowly, keeping in tnind all the while the 
principles of continuous movement and opposition. Much 
depends upon the control of the waist muscles. '' One may be 
gracious, but never graceful, with a stiff waist." 

I. Rise on toes. 

II. Right foot advanced ; rise, change weight front and back. 

III. Left foot advanced ; rise, change weight front and 
back. (Practice the last two exercises by swaying the weight 
forward and back, without rising on the toes.) 

IV. Change weight from balls to heels ; reverse. 

V. Change weight from right to left foot ; reverse. 

VI. Incline head right, body left ; reverse. 

VII. Rotate head right, body left ; reverse. 

First Exercise. — Stand in "First Position," weight principally upon the 
balls of the feet ; head and chest up ; hips back. Rise as high as possible 
on both toes, then sink back into position. Repeat several times. 

Second Exercise. — Advance the right foot about its length, then rise high 
on both toes, settle the weight on advanced foot, keeping up back heel ; 
rise again on toes and change weight to back foot, keeping up front heel, 
and so continue to alternate. 

Third Exercise. — Advance the left foot and repeat second exercise. 

Fourth Exercise. — With feet side by side, without raising the toes or 
heels from the floor, sway the body, changing the weight until it comes 
entirely on the balls, then back on heels, and continue to alternate. 

Fifth Exercise. — Without raising feet, change the weight to the right 
foot, then to the left, and so alternate. 

Sixth Exercise. — Incline the head obliquely forward to the right, and 
body obliquely to the left. Reverse. Do not raise the feet from the floor. 

Seventh Exercise. — Weight on both feet, rotate the body at waist line to 
the right, and head to the left. Reverse. Do not raise the feet from the 
floor. 



WALKING. 33 



WALKING. 



The subject of walking, aside from a standpoint of health, 
is a matter of much importance. It makes a vast difference in 
our power to influence or give pleasure to others, whether we 
carry ourselves with graceful ease, or whether we tilt, pitch, 
drag, shuffle, or bob along among the people of the world. 

The Greeks claimed that character is revealed by the gait. And why not, 
when we consider that our movements are but the expression of our inner 
selves t Who has not determined, by the poise and carriage, with con- 
siderable accuracy, certain traits of character belonging to those whom he 
did not know ? ' 

Muscular indolence, or the tendency of human nature to give up to the 
weakness of the flesh, is a great drawback to the attainment of correct car- 
riage. Without training, it is exceptional to find an individual possessed of 
a good form, level shoulders, and with an easy, straight forward, gliding 
step, — such a step as saves the vital organs and maintains dignity of 
bearing. 

A certain writer tells us of that rare grace of movement by which 
people, as they walk, confer favors upon the world. 

Good walking is simply one perfect poise of the body follow- 
ing another in succession. A step, when properly taken, car- 
ries the head and chest well poised, puts strength in the thigh, 
plants the ball of the foot first, and can be arrested at any 
instant and leave the body in harmonic balance. 

To give better position to the knees, and a more easy move- 
ment to the pelvic joints, the toes should turn out. Aside from 
the fact that the spine is very sensitive to shocks produced by 
bringing the heels down with a " thud," the placing of the 
weight heavily on the heels cannot help giving a bad carriage 
of the hips, and a heavy, stolid character to the step. To walk 
well, one must practice a great deal, and if one does walk well, 
he can walk long distances without fatigue. 

Emerson is said to have been an admirable walker — light, erect, and 
strong of limb. He always preferred to take his exercise in that way, and 
once said : "When you have worn out your shoes, the strength of the sole- 
leather has gone into the fiber of your body." 
P. E.-3 



34 PHYSrCAL KDUCATION. 

The feet are deserving of some special consideration in this 
connection. They should be clothed with well-fitting shoes, 
that do not discourage practice or stop the circulation. A 
shoe, to be comfortable, must fit snugly about the heel and 
ankle, and be broad across the front part of the foot, so as to 
give freedom to the toes and elasticity to the step. The heel 
should be broad and low. Children outgrow their shoes very 
soon, therefore care should be exercised when buying shoes to 
get them large enough. 

Preparatory Practice. 

In order to take the schoolroom practice with accuracy, it will be neces- 
sary to have a heel-line painted in the middle and through the length of 
each aisle, to be used as a guide to a straight forward step. 

Let the pupils stand with one foot on each side of this line, with heels 
touching it, and toes apart at an angle of about sixty degrees. 

By counts, to music in waltz time (the " Newport " is well 
adapted to this exercise), take the following mechanical prac- 
tice, which slowly and carefully brings into exercise all the 
muscles used in walking : 

Forward Step. 

1. Lift the right leg by putting strength in the front mus- 
cles of the thigh, letting the foot hang from the bent knee. 

2. Touch the right toe forward by stretching the lower leg 
the length of the step, which should not be too short. 

3. Rise slightly on both toes and push forward with the 
back foot, settling the weight gently on the advanced foot. 

As the weight is transferred to the front foot the head and chest are car- 
ried forward, the body hel'd in harmony with the placing of the weight, 
while the back thigh drops slightly in at the joint. Repeat this exercise 
with tj;ie other foot forward, and continue to advance as many steps as the 
space will allow, then bring the feet together side by side. 

Backward Step. 

Without turning around, step backward as you count ; i, lift 
foot ; 2, touch toe back ; 3, settle weight. 



FRANCOIS DELSARTE AND HIS TEACHINGS. 

Francois Delsarte, the discoverer of the fundamental prin- 
ciples which should regulate physical culture, was born at 
Solesme, France, in November, 1811. His early years, like 
those of many other men of genius, were passed in suffering 
and privation. At the age of ten he was left quite alone in the 
world to drift as best he could in the streets of Paris. Yet, 
even amidst these unfavorable surroundings, he developed a 
great passion for music, and as he wandered from street to 
street in his daily occupation of rag-picking, his greatest delight 
was to follow the bands of strolling minstrels, and in this way 
he gathered more songs than rags. 

When he had reached the age of thirteen. Bambini, an emi- 
nent professor, noticed him one day writing music in the sand. 
He asked him who had taught* him, and the boy answered, 
'' Nobody, sir ; I found it out myself." Bambini upon hearing 
this decided to take the boy home with him, and he instructed 
him in music until the pupil became greater than the master. 
In the conservatory he developed a style of his own. 

His manner, though courtly, was devoid of all self-assertion, 
his form was massive, and his eyes brilliant ; and when he sang, 
his exquisite voice, aided by the expressive gestures, the art of 
which he knew so well, won him a place in the hearts of all his 
listeners. 

While yet a young man, his voice failed him. He was con- 
vinced that this was due to a faulty training, and he determined 
to devote his life to the development of a system which sliould 
give a solid foundation to the art of expression. By the study 
of anatomy and physiology he gained a perfect knowledge of 
the structure and capabilities of the body, and by close obser- 

(35) 



36 PHYSICAL EDUCATION. 

vation of the different phases of Hfc he discovered the laws of 
expression. He died in July, 1871, before he had had an 
opportunity to pubHsh any complete account of his discov- 
eries. 

From the manuscripts he left behind him, and through the 
writings of his pupils, we have gained a knowledge of the laws 
of expression and of the mechanical movements necessary for 
a complete training of the body. These movem.ents and laws 
should find a place in every rational system of physical educa- 
tion. 

We get from him a series of relaxing exercises which subject 
the joints and the muscles to a process which frees them of 
their stiffness. These exercises teach us " to let go of our- 
selves " and to relieve the tired nerves of the tension which 
wears upon them. 

We also get from him the restful feather and poising move- 
ments, which tend to banish all discord and train the various 
parts of the body to work harmoniously together. 

The Delsartean exercises are an embodiment of ease and 
grace in force ; of language in movement. They may be 
advantageously used to supplement other more vigorous sys- 
tems of training and to refine and give the power of self-control 
to those who are awkward, sturdy, and robust. 

THE RELAXING EXERCISES. 

Order of Practice. 

(To be written on the blackboard as a guicfe for uniform class drill.) 

Pupils take "First Position, Standing." 

Where corresponding parts of the body are to be moved, exercise first 
the right, then the left, and finally, if possible, both together. 

I. Fingers. — i. Shake from the knuckles. — 2. Knead ; palms 
up, palms down. 

II. Hands and Wrists. — i. In and out. — 2. Up and down. — 
3. Sidewise. — 4. Rotate. 



MOVEMENTS EXPLAINED, 37 

III. Elbows and Forearms. — I. Throw forward. — 2. Twist 
forearm. 

IV. Arms and Shoulders. — i. Raise and drop arms. — 2. 
Rotate shoulders. — 3. Shrug shoulders. 

'^V. Head. — I. Roll right.— 2. Roll left. 
■^VI. Body. — I. Drop right, and up. — 2. Drop left, and 
up. — 3. Drop front, and up. — 4. Drop back, and up. 

VII. Hips and Knees. — i. Revolve. — 2. Swing. — 3. Paw. 

VIII. Ankles. — Bend toes up and down. 

IX. Eyelids and Lower Jaw. — Drop and raise. 

MOVEMENTS EXPLAINED. 

I. — Fingers. 

Position. — Elbows bent, hands up in front of chest. 

1. Let the fingers drop limp from the knuckles ; in that condition shake 
them by a vigorous movement of the forearm and wrist. 

2. The kneading, or harmonic expansion of the hand, is a most excel- 
lent exercise to cultivate pliability and expressiveness. 

Knead the hands, palms up, palms down. In this exercise the fingers 
and thumbs are clustered together over the palms, and then expanded by a 
regular succession of movements which begins at the knuckles, and passes, 
joint by joint, to the ends of the fingers and thumbs. Practice slowly until 
every muscle and joint of the hand is freed of stiffness. 

II. — Hands and Wrists. 

Let the hand fall limp, arm straight, falling in front of body, move from 
shoulder ; shake upon the wrist so rapidly that the separate fingers are 
not visible. 

1. In and out — palms in. 

2. Up and down — palms down. 

3. Sidewise — palms down. 

4. Rotary shake — whirl the hands inward and outward in a circle. 

III.— Elbows and Forearms. 

I. Bring the back of the hand up to the chest, elbow near side, throw 
out arm so violently that a jerk is felt at the elbow. Take coarseness and 

* Move slowly. 



38 PIIYSTCAL EDUCATION. 

self-assertion out of tlie elbow and it becomes the representative of grace 
and affection, 

2. With arms at the side, without moving shoulder or wrist joints, twist 
the forearms, pointing thumbs forward and back. 

IV. — Arms and Shoulders. 

1. Raise the arms above the head, withdraw the power, and they will 
drop lifelessly at the side. 

2. Rotate the shoulders back and around by raising them up as high as 
possible, then pushing them backward and down to level. 

3. Let the arms fall limp from the shoulders ; put strength in the chest 
and twist the body to the right and the left, until the arms swMng around 
like ropes. Keep the feet tirmly on the floor. 

v.— Head. 

1. Drop the head forward as low as possible ; roll it very slowly to the 
right and around. 

2. Reverse the movement. 



VI.— Body. 

I. Drop the body to the right side by the involution of movement ; viz.: 





7. 8. 

let the action commence at the eyes ; the head will drop and draw the 



THE FEATHER MOVEMENTS. 39 

shoulders, and so on by degrees the body falls decomposed to the hips. 
Then raise the body by evolution of movement, viz.: let the action begin 
at the hips or waist, and follow upward, expanding and strengthening 
every successive part, until the head is raised and the eyes open, (See 
Figure 7.) 

2. Same to the left. 3. Same to the front. 4. Same to the back. In 
leaning backward be careful not to press squarely back on the spine, but 
rather obliquely, at the side of the column, at the same time bracing the 
body by placing one foot backward. It is better to take no risks while 
exercising the back. (See Figure 8.) 

VII.— Hips and Knees. 

Position. — Hands on hips, fingers forward. 

1. Stand on one foot, revolve the other about it. 

2. Swing leg from hip, forward and back. 

3. Raise the foot, bend knee forward, then stretch the leg backward as 
far as possible, keeping head and chest up, and the other foot firmly on 
the floor. Until strength is gained let the foot come to the floor after each 
stretch, afterward paw several times in succession. 

VIII.— Ankles.- 

Same position, standing as above, raise the foot from the floor, turning 
toes up and down with ankle movement. Rotate the foot around at ankle 
joint. 

IX. — Eyelids and Lower Jaw. 

In this very restful exercise drop the eyelids, giving up, as if losing con- 
sciousness in sleep ; drop the lower jaw, and let the head fall relaxed ob- 
liquely forward upon the chest. Recompose slowly to erect position. 

THE FEATHER MOVEMENTS. 

These graceful floating movements easily and naturally fol- 
low the " Relaxing Exercises." They are based upon the Law 
of Succession : 

" Movement begins at the vital parts or at a given center, and con- 
tinues in successive waves until it seems to pass off at the extremities." 

These movements, in their smoothness and beauty, should 
resemble the waving of blades of grass, or the lightness of a 
feather floating through the air. 



40 PHYSICAL EDUCATION. 

Wliilo practicing these exercises, stand well poised, but do 
not hold the head stiff. It should rise and sink slightly in 
opposition with the hand movements, in accordance with the 
principle, " Every movement of the hand has responsive move- 
ment of the head." 

For practice, use waltz time, counting two measures to each 
move. 

All movements, either in rhythm or suspension, finish by 
bringing the hands, palms downward, wrists leading, to position 
at the side. In complete rhythm the harmony of succession is 
not broken throughout the upward and downward, outward 
and inward, motions ; but in suspension the succession is sud- 
denly stopped with the upward and outward moves, and the 
hand falls relaxed to position. In rhythm the movement is 
subjective, and the reflex feeling expressed is brought back to 
the individual ; but in suspension the movement is objective, 
and the interest centers in and rests with things exterior. 

Order of Practice. 

I. Front movement — right hand ; left hand ; both hands. 

11. Side movement — same as above. 

III. Horizontal movement — same as above. 

IV. Oblique— right, left. 

V. Serpentine — right, left, and both, 

VI. Spiral — right, left, and both. 

VII. Giving — limited, broad, elevated, once each; repeat. 

MOVEMENTS EXPLAINED. 

I. Front Movement. 

By putting strength in the chest and shoulders raise the arms, elbows 
straight, palms down, up in front of the body about forty-five degrees 
above level, letting the hands hang limp. (In all of these movements the 
hands never lead, but follow after the wrists.) To draw the hands down- 
ward, force begins in the chest, and passes, joint by joint, muscle by 
muscle, successively down the arms, unfolding them and floating the hands 
through the air as feathers ; finally expanding the hands and passing off 
at finger tips. 



MOVEMENTS EXPLAINED. 4 1 

II. Side Movement. 

Let the hands fall smoothly to the side, from which point they are raised 
and lowered in the same manner and to the same angle as in the front 
movement. 

III. Horizontal Movement. 

Raise the arms, elbows straight, palms down, to shoulder level at side, 
then turn palms inward and bring the hands together and crossed on the 
chest, then stretch them back to side, horizontal ; observe the same law of 
action as in the front movement ; finish by turning palms downward and 
floating hands to side. 

IV. Oblique Movement. 

For the right oblique movement raise arms, elbows straight, palms 
down, to shoulder level in front, then face palms, and draw hands near 
chest by bending elbows outward and downward ; from this position 
stretch strongly, unfolding right arm obliquely right and up, at the same 
time stretching left arm obliquely left and down. Bring straight arms 
back to shoulder level front, and finish by turning palms downward and 
floating hands to side. 

The left oblique movement is the reverse of right oblique. 

V. Serpentine Movement. 

Raise the right arm, elbow straight, palm down, to shoulder level at 
side. By a movement of the muscles of the shoulder and upper arm, and 
a bending and bringing forward of the elbow, the hand is brought over 
the shoulder, thumb down, and fingers hanging obliquely toward the right ; 
now bend the elbow farther front and downward almost ta side, then twist 
the forearm out straight, raising the elbow, and expanding the hand out 
at shoulder level. 

As the right hand finishes and comes to side, raise the left to shoulder 
level, and with it execute the movement, after which hold the left in posi- 
tion and bring the right up even with it ; then perform a double movement 
by exercising both arms at the same time. 

VI. Spiral Movement. 

The spiral movement is several repetitions of the serpentine movement, 
each time taken from a higher position at the side. 

The move is smooth and continuous, suggestive of its name, and ex- 
presses mystic revelation. Three positions make a pretty movement. 



42 PHYSICAL RDUCAriON. 

The order of exercise and change is the same as for the serpentine move- 
ment. 

VII. Giving Movement. — Limited. 

Tiie elbows are bent and finger tips brought to chest, palms in. As the 
elbows are raised, the forearms extend, and the hands expand about waist 
high. The hands are held forward in the attitude of presenting a gift to 
one person, palms up, fingers near together. (Do not hold the gift back 
with your thumb, or let it fall through spread fingers.) 

Giving Movement. — Broad. 

This movement unfolds the same as the one before, only that the hands 
are expanded farther apart, which makes the gesture more generous, in- 
cluding all J the eye must glance from side to side, encompassing all 
within the scope of the hands. 

Giving Movement. — Elevated. 

This signifies the giving of faith, or the asking for divine aid, and is 
made by unfolding the arms upward, hands held as to receive, about 
forty-five degrees above level. 

Poising and Feather Movements Combined. 

As the hand is raised, the weight sways to the advanced 
foot, and is brought back to the retired foot as the hand 
descends. 

Counts to rhythm with waltz time, using as music, " Her 
Bright Smile Haunts Me Still." 

Front movement — Right foot advanced, right hand up, 2, 
3, 4, 5, 6 ; down, 2, 3, 4, 5, 6. Repeat. Left foot advanced, 
same order. Left hand up, 2, 3, 4, 5, 6. Repeat. Right foot 
advanced, both hands up, 2, 3, 4, 5, 6; down, 2, 3, 4, 5, 6. Re- 
peat. Left foot advanced, both hands up, 2, 3, 4, 5, 6; down, 
2, 3, 4, 5, 6. Repeat. 

The side, oblique, and giving movements may be executed 
in the same order as the front movement. 

The movements may be given in suspension, counting to the 
music of the *' Shepherd Boy," -| time, thus: Hand up, i, 2, 3 ; 
down, 4; rest, 5, 6. 



GRADED SECTION. 

It has been the purpose to plan and grade a rational as 
well as an attractive series of exercises that follow each other 
in a sequence of beauty, harmony, and progression, extending 
from the kindergarten upwards through all the grades. The 
advanced lessons are more complex ; but in the lower grades, 
the movements blend together easily, and also carry out the 
following order of succession in exercising the various parts 
of the body — hands, arms, shoulders^ head and neck, chest, back, 
waist and hips, legs and feet. 

Each division opens with a series of Sitting Positions, which 
teach the management of the body in the seat, and call atten- 
tion to the fact that even while sitting, the body may be 
exercised and rested in a healthful way. These exercises are 
followed by Standing Positions to cultivate precision, strength, 
and control, and lastly, complex movements of beauty and 
grace are introduced. Sometimes, for a change, the sitting 
movements may be taken while standing. All lessons close 
with Breathing Exercises, and each standing lesson begins with 
the Test for Position. (See page 21.) 

The lessons are first to be explained and exemplified by 
the teacher, while the pupils execute them ; then they are to 
be given as Command Drills, with the directions for each exer- 
cise stated and the counts, moves, or placings called off by the 
teacher ; the exercises can be several times repeated ; finally 
the lessons are to be memorized and independently executed 
to counts or to music. Introduce the Rest Position often. 

The merit of the school work in physical training depends 
upon, and should be estimated by, the consideration of the 
following points on the part of the pupils : 

(43) 



44 PHYSICAL EDUCATION. 

1st. Promp.tness in obeying commands, or accuracy in keep- 
ing time. 

2d. Individual grace, strength, and exactness in execution. 

3d. Control of the body between movements. 

4th. Class uniformity in movement. 

On the part of the teacher the points to consider are : 

1st. The character and arrangement of the exercises in 
regard to the development of health and bodily control, and 
also with respect to beauty and attractiveness. 

2d. The manner of conducting the drills. The test for all 
lies in the ability to make the training effective. 

TERMS DEFINED. 

1. Clapping. — Striking palms of hands together. 

2. Shaking. — Applied to arms and hands ; relax joints and 
move by force above the member. 

3. Expanding or Stretching. — A gradual extension from a 
contracted position, by obeying the law of succession. 

4. Clasping. — Pressing hands together. 

5. Kneading. (See Relaxing Exercises.) 

6. Turning or Twisting. — Moving the part around while 
the adjoining members are held firmly in place. 

7. Swinging. — Applied to the motion where the member 
is kept controlled and rigid while it swings from a given joint. 

8. Circling. — Gliding in a circle, applied chiefly to the arm, 
which may move towards the chest, upward, or outward. 

9. Rotating. — Turning at a joint. 

10. Extending. — Unbending the arm or leg and pushing it 
outward with a direct, quick motion. 

11. Bending. — Leaning over and stretching the muscles on 
the opposite side. 

12. Shrugging. — Applied to the raising and twisting of the 
shoulders. 

13. Rolling. — Applied to the head or body, when it is 
dropped forward or to one side, then relaxed and circled around. 

14. Erecting. — Straightening up. 



PARTS OF THE BODY. 45 

15. Raising, Widening^ Deepening, and Broadening. — Terms 
applied to chest expansion. 

16. Pushing or Pressing. — Applied to the action of the 
internal muscles in moving outward. 

17. Energizing or Strengthening. — Putting under control; 
making strong. 

18. Relaxing. — Withdrawing the force. 

19. Recovering. — Coming back to position. 

20. Stepping. — Advancing the foot once its length, touching 
the ball and placing the weight lightly upon it. 

21. Toe Touching. — Simply touching the toe outward the 
length of a step. 

22. Charging. — Throwing the foot outward twice its length, 
putting weight upon ball, bending the front knee, keeping the 
back foot down, leg straight, and chest well up. 

23. Pivoting. — Throwing one foot backward or forward, and 
turning half-way round on the toes. 

24. Stooping, — Throwing the foot around and backward, 
bending the knees and dropping the body slightly forward. 

25. Poising. — Changing the weight from one part of the 
foot to the other, also rising on toes. 

26. Kneeling. — Same as stooping, only that the leg is thrown 
directly backward. 

27. Floating and Gliding. — Terms applied to the Feather 
Movement exercise. 

PARTS OF THE BODY AND THEIR MOVEMENTS. 

1. Hands. — Clapping, shaking, stretching, clasping, knead- 
ing, expanding, clinching. 

2. Arms. — Stretching, swinging, circling, rotating, extend- 
ing, floating, gliding, folding, bending, raising. 

3. Shoulders. — Raising and dropping, rotating, shrugging, 
leveling. 

4. Neck and Head. — Bending, rolling, twisting, hanging. 

5. Chest. — Expanding, pushing, raising, widening, broaden- 
ing, deepening. 



46 



ril YSICA L ED UCA TION. 



6. Waist and Back. — Expanding, bending, twisting, rolling. 

7. Hips. — Backward, firm. 

8. Legs. — Stepping, charging, swaying, twisting, raising, 
lowering, extending, swinging. 

9. Feet. — Raising, placing, pushing, pressing, extending, 
pivoting. 

10. Lungs. — Expanding, filling, contracting. 




FOOT PLACINGS AND ARM POSITIONS. 

The Foot Placings are executed from the front toward the 
right and back, and toward the left and back. (See Figure 9.) 



PHYSICAL CONDITIONS AND MEASUREMENTS. 



47 



Directions. — Foot, placed fronts obliquely front, sideward^ 
obliquely back, back. 

Ill placing the foot, keep the heel always on the direction 
line and the toe turned outward, the same as for first position. 

Any of the following movements may be executed in the 
Foot Placing Positions. — Stepping, charging, swaying, swinging, 
stretching, jumping, and toe touching. 

Arm Positions. — Starting the arm directly out in front of 
the shoulder and dividing the space horizontally around to the 
side, we get three direction lines, viz., front, oblique, and side. 
Dividing the space upward from the downward limit of the 
extended arm, we have five positions^ viz., down, obliquely 
down, out, obliquely up, and tip. 

The arms may be placed in th^ five positions on each of the 
three direction lines. Where it is possible to apply them, 
execute in all directions the following movements — swinging, 
stretching, circling, twisting, extending, floating, raising. 



PHYSICAL CONDITIONS AND MEASUREMENTS. 

At the opening and closing of the school year, the pupils 
in the higher grades should be taught to take their measure- 
ments and physical conditions. The work can be done at inter- 
missions, and it affords pleasure and creates an interest. All 
that is needed is a good tape-measure, and a height gauge in 
feet and inches, marked on the door or wall. Any child can 
ascertain his weight. The chest conditions and measurements, 
active, passive, with the expansion, should be carefully noted, 
as in following table. The chest may be full, flat, hollow, or 
sunken. The shoulders may be level, twisted, or stooped. 

Dates. — i. September i, 1890. 2 June i, 1891. 





AGE. 


WEIGHT. 


HEIGHT. 


SHOULDERS. 


CHEST. 




Condition. 


Active. 


Passive. 


Expan- 
sion. 


1. J. Tone. 

2. " 


14. 
15. 


98 lbs. 
105 lbs. 


5ft. 
5 ft. I in. 


Level. 


Hollow. 
Full. 


30 in. 
32i-in. 


28i in. 
30 in. 


\\ in. 
2I in. 



48 



PH YSICA L ED UCA TJON. 



PRIMARY AND KINDERGARTEN GAMES. 

"There is a large place for Delsarte in the kindergarten, if it is ap- 
plied simply in the games, as opportunity offers, without regular gym- 
nastics. The introduction of this system will help much in the more 
perfect symbolism of birds, flowers, etc." 



When little children possess beauty of form and an uncon- 




10. 



scious ease of movement they are really, as Longfellow ex- 
presses it, 'Miving poems," for us to study and read: 



Ye are better than all the ballads 
That ever were sung or said. 

For ye are living poems. 
And all the rest are dead." 



In order to lead the children with graceful movements in 
their games and motion songs, the kindergarten teachers should 



PRIMARY AND KINDERGARTEN GAMES. 49 

be at least fair exponents of physical culture, and understand 
its principles sufficiently well to look after the health and 
carriage of the children. 

Skipping. — The children rise into the aisles, and at a 
signal skip or '* hippity-hop " forward, keeping time and uniform 
order of foot movement, until the teacher calls " Turn,'' then 
they all whirl on their toes, turning in the same direction, 
throw forward the foot at liberty, and skip back to places, 
whirling forward at the call, " Turn I " 

This can be done very quietly, and with surprising grace. 
The pupils should in no way crowd or interfere with one 
another. Many of our primary teachers allow their pupils to 
leave the room at intermissions with this skip. 

The exercise may be varied by having the pupils skip 
around the room in couples or by rows. 

The Race, — It adds much to the interest of the exer- 
cises if pleasing, exciting recreations are occasionally intro- 
duced. The walking or running race will greatly delight the 
little children, and can be given on the lower floor without 
annoyance to other rooms. 

At one end of the room place two objects on a table, or inside of chalked 
rings on the floor ; at the other end put on the floor toe-marks, the right 
about twelve inches in front and six inches to the right of the left. 

The contestants, in the attitude of the runner, right foot forward, knee 
bent, left leg straight, chest up, hands at side, start at the word " Go,'' and 
make the run, bringing back the objects. 

They also make the run to return the objects. The idea is to see which 
one can first get back into the correct starting position. 

Let the school decide the best two out of three runs. If the space will 
permit it, several pupils may run at the same time. 

It adds interest to put bean-bags on the heads. 

The Flower Garden. — The little children love this play 
as they love the beautiful flowers. It appeals to their imag- 
inative instinct, their faces beam with expression, while they 
p. E.-4 



50 PHYSICAL EDUCATION. 

take great pride in showing strength and self-control in the 
movements. 

Order of Mechanical Practice. 

When practiced to music, use six counts to each number. 

I. Stand, stretch arms and hands out, letting them float up 
and down, and sway to and fro. 

II. From a lifted position let the hands fall from wrists, 
and the fingers drop limp. 

III. Drop hands; arms fall relaxed at side. 

IV. Fold arms, sink body down, resting weight on toes or 
on one knee. (Practice both ways.) 

V. Drop head on folded arms. 

VI. Bring balls of the feet firmly to floor as the body is 
raised to erect. 

VII. Unfold and stretch arms out ; open hands. 

VIII. Open eyes and stand strongly erect ; then drop arms 
into first position. 

This is an excellent drill for any grade. 

As the children execute, while the teacher counts and di- 
rects, she may give a little talk, something like the following, 
to quicken the imagination and add the happiness of thought 
to the action : 

" I. Now, children, you will step into the aisles, and play that you are 
growing plants in summer time, tossed and bent by the breezes. Stretch 
up your hands, swaying your bodies, and letting your arms fall in Delsarte 
floating movements to right and left. 

" II. Now the cool fall comes on, Jack Frost bites you, a strong wind 
blows the leaves off, as your hands are dropped suddenly down at the 
wrist, while the fingers hang limp. 

"III. It grows colder, and the little bushes droop as you drop your 
heads forward upon your chests, and let your arms fall relaxed at the side. 

" IV. Winter is approaching. It is near Thanksgiving time, when the 
gardener comes and folds the branches together as you cross your arms 
on your chests, while your knees and hips bend, sinking the body and 
resting the weight upon the toes, or upon one knee. 



PRIMARY AND KINDERGARTEN GAMES. 5^ 

" V. The gardener covers you over, and you drop your heads relaxed 
upon your arms, folded on the knees, and sleep so quietly, without looking 
out or laughing. Plants are always very still. The winter is full of rest, 
and is quite short — ^just a minute long. 

" VI. Soon the gentle rains give you a drink, the cheerful sun warms you, 
and the bright spring calls you to ' wake up,' in time to be Easter flowers. 
The roots grow down as your feet are pressed to the floor, and the plants 
begin to peep up slowly as your heads and bodies rise steadily up and up 
above the desks. 

"VII, The branches expand, as your arms are extended, and with a 
burst the leaves come out, as your hands gently open and stretch up to 
meet the sunshine. 

" VIII. Finally all of our beautiful flowers look out through the windows 
of the soul, and we see an expression of pleasure all over the school, then 
you drop your arms and become our little, happy children again." 

Gathering and Giving Flowers. — This is an excellent 
exercise to teach stooping, an act which few people perform 
with ease. A gentleman in society rarely stoops with grace 
when he picks up a lady's glove or handkerchief. 

Handkerchiefs may be used in this play, but the use of cut 
flowers makes a prettier exercise. The flowers can be scattered 
on the floor in the front part of the room. 

Let the children rise and march round the room. As each one ap- 
proaches the garden, he glances round and selects his flower, steps for- 
ward and stoops, bringing his back knee nearly to the floor beside the 
flower of his choice. He picks the flower with the hand on the side nearest 
it, then rises and gives it, with grace and fitting expression, to the teacher, 
who stands by. 

In stooping, the child's legs are bent as in kneeling, and his head is 
kept higher than the other part of his body. This manner of performing 
the action keeps the face from flushing, and the body from assuming a 
grotesque attitude. 

Passing Dumb-Bells or Bean-Bags. — Form two columns 
(it may be by choosing sides). At the head of each, on the 
floor, chair, or table, place a certain number of objects. As 
they are passed toward the foot, each pupil catches them 



52 PHYSICAL EDUCATION. 

with the hand toward the foot, and vice versa as they are sent 
back. 

The game will be won by the side which first succeeds in passing its 
object down and back to the original position at the head of the column. 

The Tug of War. — Take an inch and a quarter rope about 
ten feet long; select an equal number of children to catch 
each end, arranging the strongest toward the ends. At the 
word "/V^//," they exert their strength, each side trying to 
bring the other beyond a certain chalk mark on the floor. 
The teacher will keep time by his watch, and call ''Halt " at 
the expiration of a stated time — one, two, or three minutes. 

FIRST GRADE. 

First Series. Sitting Positions. 

Eight counts to each number. 

Hand Clapping and Stretching. 

1. Clap the hands to time through two measures of eight 
counts each, the right hand being uppermost on first measure. 

2. Left hand uppermost on second measure. 

3. Alternate. On eighth count, close fingers and bring 
backs of hands against chest. 

4. Open fingers, stretch them out strongly, close them ; 
continue through the measure. 

Ann Raising. 

5. Alternate raising and expanding right and left hand high 
over head. Let the movements be in succession, joint by 
joint, I, 2, up ; 3, 4, down, and so continue. 

6. In the same manner raise both hands at same time, 
expanding the hands at limit. 

Shoulder Raising. 

7. Raise right shoulder on 1, drop on 2 ; so continue through 
the measure. 

8. Left the same. 

9. Both the same. 



FIRST GRADE. 53 

Neck Bending. 

10. Bend the head to right and erect ; back and erect ; left 
and erect ; front and erect. 

Chest Stretching and Shoulder Leveling. 

11. Forearms vertical, palms facing; i, bring hands to- 
gether ; 2, stretch back, pulling strongly across the chest, and 
bringing the elbows down near the side, and so continue. 

Waist, Back, and Hip Bending. 

12. Hands on hips. Bend body forward and back, moving 
only at hips, i, 2, forward ; 3, 4, back, and so continue. (This 
teaches the children to reach their desks by bending at the 
hips only, instead of dropping the shoulders.) 

13. Hands on edge of desk, right over left, lower and raise 
head slowly ; I, 2, 3, 4, down ; 5, 6, 7, 8, up. 

14. Arms folded back, count eight while resting. 
Leg and Foot Management. 

15. Raise and lower both heels. 

16. Cross right foot over left, keeping left foot in place. 

17. Cross left foot over right, keeping right foot in 
place. 

The last three exercises teach careful foot management 
under the desks. We must have polite feet, that do not strike 
the desks and make a noise. 

18. Breathing. Exercises i, 2, 3. (See "Breathing Exer- 
cises," page 27.) 

Second Series. Standing Positions. 

Count eight to each number. 

1. I, 2, 3, 4, rise ; 5,6, 7, 8, "Test Position." (See Gen- 
eral Drills.) 

Hand Shaking. 

2. Shake the hands up and down, in and out. (See " Re- 
laxing Exercises," page 36.) 

Shoulder and A rm Stretching. 

3. Slowly raise hands at side and clasp them back of head ; 



54 



PHYSICAL EDUCATION. 



Stretch througli two measures, inovin<^ the elbows forward and 
back. (^See Figure ii.) 

4. Slowly and strongly stretch the arms out at side ; turn 
palms downward and bring hands down at side. 

Head Rolling. 

5. Drop the head forward and roll 
it around to the right, back, left, front ; 
and reverse. 

Chest Pushing. 

6. Slap the hands together back of 
the body, seven times ; arms straight ; 
push the chest up. On eighth count 
bring the hands to the hips. 

Waist Twisting. 

7. Keep the feet firmly on the 
floor ; from the waist turn the body 
to the right, then front ; to the left, 
then front. Repeat. 

Running. 

8. Hands on hips ; raise left foot, 
showing sole to the back ; bend at 
knee only ; bring the foot back in 
place, touching ball ; i, up; 2, down, 
and so continue. 

9. Right the same. 

10. Alternate 8 and 9 in a stationary run, then continue 
faster into a run on the toes, forming a Hne around the room, 
the same as in marching. Until the pupils are well drilled, 
have only one row run at a time. 

This run makes a very pretty exercise by itself ; it can be 
used in kindergarten work, and when given to the music, 
" Tam o' Shanter," by G. W. Warren, is exceedingly attractive. 

Lung Strengthening. 

11. Practice exercises i, 2, 3, 4, 5. (See '' Breathing Exer- 
cises," pages 27 and 28.) 

12. Sit. Rest position. 




SECOND GRADE. 55 

Third Series. Feather Movements. 

For grace and control. Count six for each movement. Execute from 
" First Position, Standing." 

1. Front Feather Movement. — i, Float right hand upward 
and downward ; 2, left the same ; 3, both hands the same. 

2. Side Feather Movement. — i, Float right hand upward 
and downward ; 2, left hand the same ; 3, both hands the 
same. 

3. Horizontal Feather Movement. — i, Float right hand, side 
outward, forward outward, side outward, downward ; 2, left 
hand the same ; 3, both hands the same. 

4. Combined Feather Movement and Poise. — (Make the 
changes smoothly.) i. Float both hands up in front, rising on 
toes at same time ; position ; 2, float both hands up at side, 
rising on toes at same time; position ; 3, float both hands up 
and horizontally inward, rising on toes at same time ; then out- 
ward and down to position. 

Repeat the above order of exercises. 

5. Breathing. — Exercises 6 and 7. (See page 28.) 

SECOND GRADE. 

First Series. Sitting Positions. 

Hand Closing and Opening combined with A rm Twisting. 

1. At side, downward, eight counts ; obliquely downward, 
eight counts; outward, eight counts; obliquely upward, eight 
counts ; upward, eight counts. Position. 

Arm, Upward Side Circling. 

2. From position down at side, palms out and elbows slightly 
bent; by counts ; i, circle to obliquely downward ; 2, outward ; 
3, obliquely upward ; 4, upward touch fingers ; drop by counts ; 
5, obliquely upward ; 6, outward ; 7, obliquely downward ; 8, 
down to position. Four counts, float the hands upward and 
make a complete circle ; four counts, hold ; four counts, float 
to side outward, turn palms downward and float to position. 



56 PHYSICAL EDUCATION. 



Shoulder Toncliiiig. 

3. Position, raise right arm outward, and bend, touching 



left shoulder, elbow shoulder high ; i, touch ; 2, extend out- 
ward ; continue eight counts. Position. Left the same. 
Alternate. Both the same. 
Neck Twisting. 

4. Turn head to right, back to front ; to left, back to front. 
Repeat. 

Body Twisting. 

5. Hands on hips ; from the waist, twist the body to the 
right, and back to front ; to the left, and back to front, and so 
alternate slowly. 

Foot Stretching. 

6. Fold arms backward ; i, extend right foot forward and 
stretch ; 2, back in place ; 3, raise heel ; 4, place foot. Repeat. 

7. Same with left. 

8. Same with both. 

9. Take the same exercises, placing foot sideward. 

10. Breathing. — Exercises 8 and 9. (See page 28.) 

Second Series. Standing Positions. 

Eight counts to each number. 

Arm Swinging at Angles. 

1. Four count move. Swing the right arm out at side, out 
in front, out at side, down at side. Repeat. 

2. Left the same. 

3. Both arms the same. 
Horizontal A rm Circling. 

4. Position, arms down at side, palms facing front, elbows 
bent. By counts, i, touch tips of fingers together down in 
front ; 2, arms down at side ; 3, touch tips of fingers together, 
front obliquely down ; 4, obliquely down at side ; 5, touch tips 
of fingers together out in front ; 6, out at side ; 7, touch tips 
of fingers together obliquely upward in front ; 8. obliquely up 
at side ; 9, touch tips of fingers together up ; 10, obliquely up 
at side; 11, touch tips of fingers together obliquely up in 



SECOND GRADE. 



57 



place ; sideward, 



front; 12, out at side; 13, touch tips of fingers together out 
in front ; 14, obliquely down at side ; 15, touch tips of fingers 
together obliquely down in front ; 16, down at side. 
Shoulder Raising. ^ 

5. Two count move. Raise the right shoulder, drop it ; 
through the measure. 

6. Left the same. 

7. Both the same. 

A rm Folding and Bowing. 

8. Fold arms ; right face ; drop arms and bow ; rise to 
erect ; fold arms ; front face ; drop arms and bow ; rise to erect. 

9. The same, turning to the left. 
Stepping Positions. 

10. Step right foot obliquely forward, 
place ; obliquely backward, place ; back- 
ward, place. 

1 1. Left the same. 

12. Alternate, sixteen counts. 

13. Take charging in all the directions. 

14. Kneel and point; first on right 
knee, then on left. (See Figure 10.) 

15. Breathing, — Review previous prac- 
tice. 

Third Series. 

Feather Movements. 

1. Front, side, and horizontal, com- 
bined with poising. (See page 40.) 

Complex Movements. 

2. Hands at side, step right foot for- 
ward and back ; rise on toes. Repeat. 
(Remember, a step is once the length of 
your foot.) 

3. Step the left foot forward and 
back; rise on toes. Repeat. 

4. Step right foot back ; to place ; rise on toes. 




58 PHYSICAL EDUCATION. 

5. Step the left foot backward and to place; rise on toes. 
Repeat. 

6. Raise right hand over head, step left foot forward, put 
left hand on hip. 

7. Reverse the move. (See Figure 12.) 

8. Clasp hands and charge left foot forward ; raise arms in 
a circle over head ; bring foot back to position ; arms at side. 
Repeat. 

9. Clasp hands ; charge the right foot forward, raise arms 
in a circle over head; bring foot, back to position, arms at 
side. Repeat. 

10. Breathing. Exercises 8, 9, 10. (See page 28.) 

THIRD GRADE. 

First Series. Sitting Positions. 

A rm Extending and Bending. 

Position, hands on chest. 'Two counts. Extend and bend. 

1. Side extending; right hand downward ; obliquely down- 
ward ; outward; obliquely upward ; upward. 

2. Left the same. 

3. Alternate hands. 

4. Both hands move. 
Shoulder Rotating. 

5. Raise right shoulder, push it back and down ; four 
counts. Repeat. 

6. Left the same. 

7. Both the same. 
Head Erecting. 

8. Force the chin out, drop it down, then pull it back as 
though trying to touch the throat. Four counts. Repeat. 

Chest Widening and Deepening. 

9. Raise arms out at side, turn palms back, push backward 
with the hands and forward with the chest eight counts ; from 
this position stretch arms up, turn palms upward, sit tall in the 
seat, and push upward, four counts; turn palms outward and 
float arms down to side. 



THIRD GRADE. 59 

10. Waist expansion. Hands on waist, expand the muscles 
and draw the hands backward, four counts. Repeat. 

Knee Bending. Feet Crossing. 

11. With feet crossed, bend the knees, bring toes back, and 
touch them under the seat, extend ; eight counts. 

12. Extend the legs forward, cross the right over the left, 
uncross it and bring it back to position under the seat, eight 
counts. 

13. Left the same. 

14. Alternate. 

15. Breathing. In addition to previous practice take Exer- 
cise II. (Seepage 28.) 

Second Series. 

March time, eight counts to each number. 

Relaxing Exercises. Poising Posture. 
I, 2, 3, 4, Rise ; 5, 6, 7, 8, Test. 

1. Shake the hands in and out, keeping elbows straight, 
palms in. 

2. Shake the hands up and down, keeping elbows straight, 
palms down. 

3. 1st, bend elbows, bringing palms front; 2d, throw the 
forearms forward, palms down ; continue through the move. 

4. Shrug the shoulders from right to left, twisting at the 
waist ; let the impulse carry the arms around the body, as 
ropes would fall. Keep the feet firmly on the floor; i, 2, 
right ; 3, 4, left, etc. Face front on 7, 8. 

5. Shake the shoulders up and down, i, up; 2, down, etc. 

6. Shake both entire arms from the shoulders ; raise the 
upper arms shoulder high, let the hands hang limp in front of 
body ; by a strong shoulder movement fling the hands down- 
ward. 

7. Roll the head smoothly and slowly front, right, back, 
left, front ; and reverse. 

8. Poise on toes of both feet four times, rise slowly and 
strongly on 1,2, 3, 4. Come down on 5, 6, 7, 8. 



6o PHYSICAL EDUCATION, 

9. Charge the right foot forward, bending the right knee ; 
at the same time curve the left hand over head, pahn out, look 
up. Analysis : On the first count step the right foot forward 
and raise the left arm shoulder high at side; on the second 
count bend the right knee and curve left hand over head ; for 
third count, same position as first count ; fourth count, back 
in place. Repeat. 

10. The same with left foot and right hand. 

11. The same with right foot and both hands. 

12. The same with left foot and both hands. 

13. Test. Set cJiest. 

14. Breathijig. Practice the scale, sounding ah and oh. 
(See page 28.) 

Third Series. 

Right Angle Arm Swinging. 

1. Right arm raised out at side, shoulder high, palm down ; 
bring out in front; out at side; down in place. Repeat. 

2. Left the same. 

3. Both the same. 
Neck and chin exercise. 
Pendulum Head Swinging. 

4. Twist head to right, drop it down, rotating it around and 
down in front ; to the left the same, eight counts. Repeat 
several times. 

Complex Movements. 

5. Fold arms forward ; step right foot obliquely front ; 
bring foot back to place ; drop arms at side. Repeat. 

6. Same with left foot. 

7. The same, stepping right foot back. 

8. The same, stepping left foot back. 

9. Arms at side, step right foot front, and back to place ; 
side, and back to place ; backward, and back to place ; cross 
over in front, and back to place. 

10. Left the same. 

11. Alternate the feet in giving the moves in 9 and 10. 



FOURTH GRADE. 6 1 

Swaying and Forward Folding. 

12. Step right foot forward; fold arms front. Sway by 
bending and straightening the front knee. The head and chest 
should be kept well up, the face directed toward the advanced 
foot, and the legs should move strongly and steadily. 

13. Left the same. 
Waist Twisting. 

14. Hands on hips ; twist body right ; twist body front ; 
twist to left ; twist to front. Repeat. 

1 5 . Feather Movements. 

Front, side, and horizontal with the poising. (See page 40.) 

16. Breathing. Practice bugle note. Blow tunes. 

FOURTH GRADE. 

First Series. Sitting Positions. 

These exercises are designed as seat and desk drills. 

Arm Bending and Chest Pushing, 

1. Position. Extend the arms forward, catching the sides 
of the desk ; plant the feet firmly on the floor ; move. 

Raise the elbows and push the chest forward ; straighten 
the elbows and push the body back. Four counts forward, 
and four counts back. Repeat. 

A rm Pulling Sidewards. 

2. Position same as above ; lean the body to the right, 
pulling hard on the left arm, four counts; erect. Repeat. 

3. Reverse. 

4. Alternate the direction movement four times. 
Arm Pulling Backwards. 

5. Position same as above ; push back as far as possible, 
come to erect. Repeat. 

Chest Lifting. 

6. Catch the. hands down on each side of the seat ; push 
down on the hands, making the arms rigid and strong ; push 
up on the chest, slightly raising the body. Four counts, ener- 
gize ; four counts, relax. 



62 PHYSICAL EDUCATION. 

Waist and Leg Stretching. 

7. Drop hands into the lap, sHde to the right side of seat, 
circle left arm sidewards over the head and extend the left foot 
into the aisle, keeping the toe on the floor ; lean the body to 
the right and touch the floor with the right hand ; four counts 
down, four counts up. Repeat. 

8. Slide to left side of seat, and take same exercise. 

9. Breathing. Exercise 12 for new practice. (See page 28.) 

Second Series. 

Mamial of A rms. 

This spirited exercise cultivates attention and rapid action, and must 
be executed with exactness. 

Move promptly on the word Anns. 

1. Fold arms! — in front. 

2. Extend arms ! — shoulder high at side, palms down. 

3. Support arms ! — clasp hands back of head. 

4. Advance arms !--extend shoulder high in front, palms 
up. 

5. Reverse arms ! — fold back of body. 

6. Raise arms ! — vertical over head, palms front. 

7. Carry arms ! — cross forearms on chest. 

8. Shoulder arms ! — upper arms horizontal at side, fingers 
on shoulders. 

9. Cross arms ! — forearms crossed over head. 

10. Present arms! — crossed arms drop in front, shoulder 
high. 

1 1. Rest arms ! — hands on hips. 

12. Secure arms! — clasp hands in front. 
Complex Movements. 

13. Bend right knee, raising heel and keeping toes on the 
floor. Left the same. Alternate. 

14. Cross right foot over, touching it left of left toe ; step 
forward ; raise arms straight over head, palms front (see Figure 
13); come back to position. Repeat. Left the same. 



FOURTH GRADE. 



63 



15. Cross right foot back of left; forward to place, and so 
on. Left the same. Alternate. 

16. Face right ; bend body forward at 
waist ; raise body erect ; come to front 
position. Repeat. Face left, etc. 

17. Clasp hands and raise above head ; 
right foot forward ; bring foot back to place ; 
repeat the foot movement and come to first 
position on the eighth count. Step left foot 
forward, etc. 

18. Raise right hand under right arm, 
bringing upper arm shoulder high. Same 
with left. Alternate. 

19. Raise both hands under arms. 

20. Twist the body at waist line to the 
right and back ; extend arms shoulder high 
front, and drop them. Repeat. 

21. Repeat 20, twisting to the left. 

22. Step right foot forward, fold arms 
and sway body ; come to position on the 
eighth count. 

23. Same to left. 

24. Breathing. Practice sustaining the vowel sounds. 

Third Series. 

Eight counts to each move. 

1. Position, tips of fingers on shoulders; extend the arms 
upward, in place; side outward, in place ; downward, in place ; 
front outward, in place. Repeat. Bring hands to position on 
hips. 

2. Hands from position on hips extend downward ; to 
position ; outward ; to position ; upward ; to position ; front 
outward ; to position ; hands at side. 

3. Shrug the right shoulder up and down ; raise the right 
arm out at side, drop it. Four counts. Repeat. 

4. Same with left. Same with both. 




64 PHYSICAL EDUCATION. 

Hip and SJiouldcr Joint Movement. 

5. Swing the right foot obhquely forward, touching the 
toe, and at the same time slapping the hands high over the 
head. Bring the foot to place, hands at side. Repeat the 
exercise four times. 

6. The same exercise with the left foot. 

7. The same exercise, alternating the feet. 
Cross Charging. 

8. Charge the right foot over in front of the left and bring 
it to position four times in succession. 

9. Left the same. 

The Rising and Sinking. 

TO. Rise on toes, stretching arms above head, sink down, 
bend the knees and hips, touching the floor with the fingers, 
just outside the insteps ; slowly rise to erect. 

Feather Movements. 

11. Give the front Feather Movement twice with the 
right and twice with the left hand. 

12. Give the right oblique Feather Movement, with second 
poise, twice. 

13. Left oblique Feather Movement, with third poise, 
twice. 

14. Side Feather Movement, with first poise, twice. 

15. Breathing. Practice Exercises 12 and 13. (See page 

28.) 

FIFTH GRADE. 

First Series. Sitting Positions. 

A rm Swinging and Posture. 

1. Two counts. Swing the right arm sideward above the 
head, palm down ; back to place ; four times. 

2. Left the same. 

3. Both hands the same. 

On the last count clasp the hands and swing them over the 
head, holding the posture four counts ; four counts, bring the 



FIFTH GRADE. 65 

hands slowly down to side. When the arms reach shoulder 
high in coming down, turn the palms downward, 
A rm Circling and Posture. 

4. Right arm from side position outward, circle to front 
outward and back to position four times. 

5. Left the same. 

6. Both the same. 

On the eighth count clasp hands, bring them in a circle 
over the head ; pose four counts. 

On 5, 6, 7, 8, unclasp the hands and float them down at side, 
palms downward. 

Shoulder Leveling and Chest Pushing. 

7. Raise the chest, pushing it forward and at the same 
time pushing the shoulders backward and downward four 
counts. Repeat. 

Opposition of Head and Body. 

8. Four counts for each move. Bend the body forward, 
and the head backward ; come to erect ; bend the body right, 
head left ; come to erect ; bend the body left ; head right ; 
come to erect. Repeat. 

Foot Movemejits. 

9. Take all the foot placings that can possibly be executed 
under the desk, with the stretching movements, both to the 
right and to the left. 

10. Breathing. For new exercise take Exercise 14. (See 
page 28.) 

Second Series. Standing Positions. 

Upper A r7n Raising. 

1. Raise the right hand under the right arm ; bring the 
upper arm shoulder high. Left the same. Alternate. Both 
hands the same. 

Arm Folding Backward. 

2. Reach under arm, touching opposite shoulder blade with 
the back of the right hand. Left the same. Alternate. Both 
the same. 

P. E.-s 



66 



PH YSICAL EDUCA TION. 



Backward Bending. 

3. Step right foot obliquely backward, two counts; bend 
body over it, two counts ; body to erect position. Left the same. 

Knee Bending. 

4. Bend right knee, raise heel and keep toe on the floor, 
eight counts. Left the same. Alternate. 

Complex Action. Szvaying and Horizontal Ann Floating. 

5. Charge the right foot forw^ard ; sway 
floating arms up and down, coming to posi- 
tion on the eighth count. Charge left foot 
in the same w^ay. 

Suspension. 

6. Stand with the right foot in advanced 
position, the hands hanging in graceful ease 
at the side. (See Figure 14.) i, 2, throw 
the weight forward, raise the right arm ob- 
liquely out ; suspend it on 3, 4, as though 
pointing at, or locating an object ; then drop 
it. In the same manner raise the hand and 
arm obliquely up ; also out at side and ob- 
liquely up at side, remembering to sway the 
weight forward and back. Bring right foot 
to position beside left. 

Take same order of exercise, advancing 
left foot and raising left hand and arm. 
Backward Cross Step. 

7. Cross right foot back of left ; forward to 
place, and so on. Left the same. Alternate. 

A rm Extensioit to Right and Left. 

8. I, Face right ; 2, bend body forward at waist ; 3, raise body 
to erect ; 4, extend arms front outward ; 5, back to chest ; 6 and 
7, repeat 4 and 5 ; 8, come to front position. Face left, etc. 

Framing the Profile. 

9. Clasp the hands and raise them above the head ; at the 
same time turn the face to the right ; drop hands and turn 
face front. Same to left and so alternate. 




FIFTH GRADE. ' 6/ 

Waist Tivisting. 

10. Twist the body, at the waist line, to the right and 
back ; extend the arms shoulder high front ; and drop them. 
Repeat. 

11. Left the same. 

12. Breathing. Exercise 15. (See page 28.) 

Third Series. Standing Positions. 

Hand Slapping. 

1. Touch toe in all the directions except the front, and 
back to place, at the same time slapping hands high overhead. 

Facings. 

2. I, rows right and left face, standing two lines facing, all 
across the room ; 2, swing arms obliquely upward ; 3, swing 
arms down to side ; 4, front face. Repeat the exercise, lines* 
turning in the opposite direction. Repeat. 

3. I, right about; 2, face ; 3, touch tips of fingers high over 
head ; 4, swing arm down to side ; 5, touch tips of fingers over 
head ; 6, arms down at side ; 7, again touch tips of fingers ; 8, 
hands down at side, i, right about ; 2, face ; finish the eight 
counts as above. 

4. I, right face; 2, swing right leg out at side; 3, foot in 
place ; 4, front face. Left face, repeat the exercise. Repeat. 

5. I, rows right and left face ; 2, 3, 4, float the arms to 
obliquely upward ; 5, 6, 7, float the arms downward ; 8, 
front face. Face in the opposite direction and repeat the 
exercise. 

Backward Arm Floating. 

6. I, 2, put right foot back and half kneel ; 3, 4, bend the 
body backward and float arms up in front ; 5, 6, float arms 
down and straighten body ;'7, 8, "bring foot to position. 

7. Left the same. 

8. Practice the oblique and serpentine " Feather Move- 
ments." (See pages 41 and 42.) 

9. Breathing. Exercises reviewed. Practice Articulation 
Exercises. 



68 PHYSICAL EDUCATION, 

SIXTH GRADE. 

First Series. Sitting Positions. 

March time, eight counts to each number. 

Arm Bending, Swinging, and Twisting. 

1. 1,2, extend arms to parallel horizontal ; 3, bend back to 
position, elbows at side, palms facing ; 4, out again, etc. 

2. Arms parallel horizontal, palms facing ; twist the thumbs 
down, closing the fingers ; up, opening the fingers. Repeat 
four times. 

3. 1,2, swing arins to parallel vertical ; 3, swing to parallel 
horizontal ; 4, back to vertical, etc. 

4. Arms parallel vertical ; open and close fingers. 

5. 1,2, swing the arms to horizontal at side, with the palms 
up ; 3, swing to parallel horizontal ; 4, back to horizontal at 
side, etc. 

6. Arms horizontal, with the palms up ; twist the thumbs 
down, closing the fingers. On the eighth count fold the arms 
back. 

Shoulder Pulling. 

7. Slowly raise the hands and clasp them back of head : 
eight counts ; bring elbows forward and back ; eight counts. 

Ann Extending and Circling. 

8. Extend the arms out at side, shoulder high, palms up ; 
bring tips of fingers over head, four times. 

Chest Expansion. 

9. Elbows at side, forearms vertical, palms facing ; bring 
palms together, and clinched hands back, stretching across 
the chest and bringing elbows down against side. 

Head and Back Bending. 

10. Hands on front of desk, left over right ; head down and 
up slowly. Lower the head and bend back according to the 
law of involution ; come to erect according to the law of evolu- 
tion of movement. (See page 38.) 

11. Hands on hips, bend body forward and back. I, 2, 
forward ; 3, 4, back, etc. Bend to right and to left. 



SIXTH GRADE. 69 

Swimining Motion. 

12. Position, palms together, shoulder high in front; i, 2, 
extend arms, turning palms outward, at the same time leaning 
the body forward (if standing, rise on toes) ; 3, 4, let the arms 
describe a lower circle and come to position ; take exercise 
three times, then bring hands to side. 

Foot Movements. 

13. Touch the left heel forward even with the right toe, 
and back even with right heel, through the measure. Right, 
the same. Alternate. 

14. Step the left foot out at side, through the measure. 
Right, the same. Alternate. 

15. Cross the left foot over the right, through the measure. 
Right, the same. Alternate. 

16. Raise and lower heels. 

17. Raise and lower toes. 

18. Rest position. 

The entire series may be taken standing. This grade 
should show great control in the execution of these movements. 

19. Breathing. Review Exercise 15 and take Exercise 16. 
(See page 28.) Take Exercises in Articulation, found at the 
back of the book. 

Second Series. Standing Positions. 

March time, eight counts to each change of movement. 

I, 2, 3, 4, Rise ; 5, 6, 7, 8, Test Position. 
Military Salute. 

1. I, right hand extended diagonally front, palm down, 
look front ; 2, touch brow, look left ; 3, come back to ^* I ; " 
4, hand at side. Repeat. Left the same. 

Arm Circling. 

2. Swing the right arm sidewise above the head, palm 
down, and back to side. Same with left. Same with both. 
(As the hands come down on last count, clasp them, turning 
backs up.) 



PH YSICA L ED UCA 7 ION. 



Bowing. 

3. Step the right foot diagonally back and across the left, 
incline the body forward in a bow. Same with left. Alternate. 
I, 2, bow; 3, 4, come to upright position. 
(See Figure 15. 

4. Charge forward and swing clasped arms 
over the head. Charge first with the right 
then with the left foot. 

For Steadiness of Poise. 

5. I, rise on toes; 2, twist body and slide 
on toes, .turning to right; 3, back to front, 
and on to left ; 4, back to front and settle. 
Repeat several times. 

6. Touch right toe to stepping limit, in 
all the directions toward front and side and 
back to position, at the same time touch- 
ing tips of fingers together, directly over the 
placing of the toe, and bringing the arms 
back at side. Same with left. Alternate. 

Le^ Swinging. 

7. Hands on hips ; swing right leg for- 
ward to charging limit and back to position 
three times : on counts 7 and 8, right face. 
Swing right leg sideward and back to place 
three times; on counts 7 and 8, front face. 

Swing leg forward three times, and face to the left. Swing 
leg sideward three times and front face. 
Stamping. 

8. Stamp the right foot forward lightly three times, advanc- 
ing it slightly each count. Bring it to position on count 4. 
Repeat. Same with left. 

9. Breathing. Practice Exercises 17 and 18. (See pages 
28 and 29.) 




Third Series. Giving. 

This exercise is not simply designed for mechanical drill, 



SIXTH GRADE. 



71 



but to portray the feeling or emotion expressed in presenting 
an object or in vindicating one's opinions. 

Imagine some one before you, and give as in the literal act, accom- 
panying the motion of the hand and body with the proper expression of 
the face. (See Figure 16.) 

In making the gesture, the wrist al- 
ways picks the hand up and carries it to 
the plane of the object, then the arm ro- 
tates and the hand energizes and expands. 
The raising of the wrist gives expression. 

Order of Practice. 

Count eight and use march time 



1. On the first count advance 
the right foot one step ; at the 
same time, with a slight prepara- 
tory move, start the right hand to- 
wards the left. 

2. With an upward curve, ex- 
pand the hand obliquely to the 
right in the attitude of support ; 
at the same time throw the weight 
on the front foot. Let the eyes fol- 
low in the direction of the hand. 

3. Reverse the hand, turning 
the palm downward. 

4. Let the hand fall to the side, and carry the weight to the 
back foot. 

Repeat the exercise, bringing the foot to position on the 
eighth count. 

Take the same exercise with the left hand, stepping forward 
with left foot ; same with right foot and both hands ; same 
with left foot and both hands. 




This exercise is taken in three altitudes— waist high, shoulder high, 
head hisfh. 



/- 



PH YSICA L ED UCA 7 -JON. 



SEVENTH AND EIGHTH GRADES. 

We usually find the seventh and eighth grades together, 
occupying the highest grade room ; therefore we have arranged 
their practice in one division. 

First Series. 

Count eig-ht to each number. 

Complex Action. 

I. Charge the right foot forward ; fold arms ; extend arms 

out at side ; back to position. 
Repeat. Same to left. Alter- 
nate. 

2. Charge the right foot for- 
ward, bringing the right arm 
across the chest ; raise the left 
arm at side, palm front ; bring 
clinched hand to the right shoul- 
der, keeping the upper arm 
shoulder high. Hold the charge 
with the right foot and execute 
the movement, alternately ex- 
tending the right and left arms. 

3. Charge forward with the 
left foot, and execute the same 
arm movements. (See Figure 

•7-) 

Opposition of Hand and 
Foot. 

4. Step right foot back, raise 
the left arm curved over head, 
palm front ; position. Repeat. 

5. Step the left foot back, raise the right arm curved over 
head, palm front. Repeat. Alternate. 

6. Same with both hands ; first with the right foot, then 
with the left. 




/7. 



SEVENTH AND ElIGHTH GRADES. 



73 



Opposition Swing. 

7. Swing the right foot out at side, raise left hand shoulder 
high at side. Repeat. Same to left. Alternate. 

8. Same with both hands ; first with the right foot, then 
with the left. 

9. Swing the clasped hands over head, 
and step left foot across in front of right, 
inclining the body slightly to the left, i, 
2, take the posture ; 3, 4, come to posi- 
tion. Same with right. (See Figure 

■8-) 

Stepping and Heel Raising. 

10. Step right foot forward and back ; 
side and back ; backward and to place ; 
rise on toes. Repeat the same exercise 
with left foot. 

1 1. Alternate each foot with each move 
and rise on toes ; right, forward and back ; 
left, forward and back ; right, side and 
back ; left, side and back ; right, back 
and to place ; left, back and to place. 
Rise on toes, down. 

Four Count Placing. 

12. Hands on hips and back to place ; 
hands on shoulders and down to place ; 
straighten arms sidewise and back to 
place ; arms folded back and down to place. 

13. Breathing. Exercises 19, 20. (See 
cises," page 29.) 




Repeat. 
' Breathing 



Exer- 



Second Series. 

Complex Exercise. 

I. From right foot charging position, hands on hips; ex- 
tend the arms downward, recover ; side outward, recover ; side 
upward, recover; front outward, recover. Repeat the exer- 
cise, charging to the left. 



74 PHYSICAL EDUCATIOX. 

Abdominal Exercise. 7 he Ostrich Walk. 

2. Clasp hands behind the head ; throw the head back ; walk 
Hghtly forward on toes with eight long springy steps, at the 
same time pushing upward with your chest and backward 
with your hips ; throw the right foot around ; pivot, turning 
backward; walk to place in the same manner; pivot for- 
ward and take position. While holding the hands and body 
in same position as for above exercise, mark time on the 
toes. 

Leg Elasticity. Springing. 

3. Cross one foot a step in front of the other ; rise on the 
toes and spring from the floor, changing the position of the 
feet ; and so continue in one place to spring and throw the feet 
backward and forward through eight counts. 

K7tee Bending and Arm Floating. 

4. Rise on the toes, stretch arms upward, four counts ; fold 
arm§ high across the chest and bend knees and hips strongly, 
four counts; sink the body downward, eight counts; rise 
slowly to position. 

5. Charge to the right and bring arms to side outward, four 
counts; sway backward and float arms downward, four counts; 
sway forward and float arms upward, four counts ; sway back- 
ward and float arms inward, four counts ; sway forward and 
float arms backward, four counts ; sway backward and float 
arms downward to position. 

TJie All Around Exercise. 

This will especially develop the chest and upper arm. 

6. Raise hands, relaxed in front of chest, elbows shoulder 
high, four counts ; inhale while you stretch the arm to parallel 
over the head and rise on toes, eight counts ; retain the breath 
while you bend the elbows, bringing the relaxed hands over the 
shoulder, then turn the elbows forward, and with a serpentine 
twist extend the arms out at side with the hand expanded, 
eight counts; push backward with the palm, four counts; ex- 
hale as your feet come to the floor and your arms float down- 
ward to side, eight counts. 



SEVENTH AND EIGHTH GRADES. 



75 



Looking and Beriding Backward. 

7. An exercise in opposition of movement. Keep the 
balance of the body, and sustain a harmony in all of the parts. 
This is an excellent exercise for strengthening the waist and 
abdominal muscles. 

Slowly slide the right foot diagonally forward, at the same 
time raise left hand toward the front, expanding it as though 
pointing at an object. Imagine it to be a flying bird ; for 
however simple the thought may be, it is better to have the 
mind interested in the movement. Throw the weight forward 
on the right foot ; hold this 
position while counting eight. 
Now, while counting sixteen, 
slowly transfer the weight to 
the left and back foot ; at the 
same time lower the right hand 
and raise the left, pointing with 
it at the imaginary bird which 
flies over head back through the 
sky ; bend the body backward, 
watching as far as you can see, 
then hold this position eight 
counts ; slowly bring the weight 
back to the front foot, the body 
up to erect, and the hand down 
at side. Advance the left foot 
and repeat the exercise. 

Mercury Pose. 

8. Raise the right arm, 
stretching hand up. 

9. Extend left arm and hand obliquely down. 

10. Raise the left foot back. 

11. Rise on right toes; hold. Recover first position slowly 
and strongly. (See Figure 19.) 

12. Breathing. Take the vocal practice on page 29, and 
the Articulation on pages 154-156. 




76 PJ/VS/CAL EDUCATION. 

Third Series. 

This scries should be practiced to music, using waltz time. 

1. Review in order and connectedly all of the Feather 
Movements, executing each movement once ; then repeat the 
set. Immediately following the front movement, give it com- 
bined with the first poise. (See " Poise," page 40.) So also 
with the side movement. Let the right and left oblique move- 
ments be followed, first, by the right oblique united with the 
second poise ; then by the left oblique united with the third 
poise. The series closes with the first five postures. (See 
pages 96-98.) 

2. Breathing. Review the previous practice, and take Ex- 
ercises in Articulation. (See pages 154-156.) 



MARCHING. 

When marching is conducted with care and exactness, it 
proves a most cultivating, as well as a very fascinating form 
of gymnastics. In order to develop a graceful ease of carriage 
and movement, in marching as well as in walking, too much 
attention cannot be paid to the directions for positions of 
head, body, and hips, as given in " Harmonic Poise," page 32. 

1. Keep the chest up, hips back, chin slightly in, eyes to 
the front, arms hanging easily at side, and thumbs forward, 
and never drop at the knees or drag the feet. 

2. In stepping, turn the toe outward, swing the foot for- 
ward, and plant it first on the ball ; then, as the weight is 
strongly and smoothly transferred to it, let the heel come to 
the floor, where it rests but lightly. 

This marching drill has been arranged for the seated schoolroom, and 
can be executed through the aisles and around the room. 

Commands in Order of Practice. 

Mark time in place between each change. The pupils rise; test posi- 
tion; and stand in '' First Position''' in the aisles ready to obey the com- 
mands. The first part of the command is a call for attention; the second 
part, for execution. 

I. Mark time — mark. (Begin with left foot.) 

II. Measure distance — measure. 

III. Forward — march. 

IV. Backward — march. 
V. Right— face. 

VI. Side step — front. Side step — back. 
VII. Front — face. 
VIII. Forward — march. (The schoolroom bow may be here 
introduced.) 

(77) 



7 8 riJYSlCAL EDUCATION. 

IX. Backward — niarch. 
X. Left — face. 
XI. Side step — to front ; to back. 
XII. Front — face. 

XIII. Right about face — Left about face. 

XIV. Single file — forward. (Around the room.) 
XV. Single file — backward. (Around the room.) 

XVI. Face — inward. 
XVII. Side step— to^the right. 
XVIII. Side step— to the left. 

XIX. Form twos — up the middle aisles. 
XX. Turn—right and left. 
XXI. Cross over — at front (twice). '^' 
XXII. Cross over — at back (twice). '"' 

XXIII. Cross over — at front and back (once). * 

XXIV. Bow and cross over — front ; back (once). - 
XXV. Side step and back step. 

XXVI. Single file; by commands execute the ''Manual of 
Arms " while marching. 
XXVII. To the seats. 
XXVIII. Halt. 

Each of these commands may be repeated as often as desired. 
COMMANDS EXPLAINED. 

Mark time. 

Begin with the left foot and alternately advance each foot about iialf 
its length, bringing it back on the ball first, to position beside the other. 

Measure distance. 

While still keeping time in the aisles, the pupils, excepting the first one 
in each row in the primary grades, step up and place the tips of the 
fingers on shoulders in front ; in the higher grades, place only left hand 
on shoulder in front. Drop hands at side. To employ the hands and 
keep the line even, pupils in the front row may catch hands across desks. 



* In particular changes, a certain number of moves is required to bring the 
pupils to their original places. 



COMMANDS EXPLAINED. 79 

Forward — march. 

The pupils step forward eight steps, or as many as the space will 
allow. In order to keep the advancing lines even, the pupils may catch 
hands across. 

Backward — march. 

Step backward with left foot first, endeavor to gain the old position 
with the same number of steps used in going forward. 

Right face— Left face — Front face. 

The facings are all executed by turning on the left heel, at the same 
time slightly raising the right foot and carrying it around to the position 
beside the left. Right face, turns you facing right ; left face, turns you 
facing left ; front face, brings you from the other facings to front position. 

Side step. 

From either right or left face, swing the foot to the front out at the 
side, taking steps toward the front of the room ; mark time and side step 
in the same manner toward the back of the room to the original position. 

Right about face — Left about face. 

Place right toe back of left heel and turn on toes to the right, half way 
around. Left about face is executed by placing the left toe back and 
turning to the left, half around or to the rear. 

Single file— forward. 

While the rest mark time, each pupil in the first row marches in com- 
mon time, forward and across the front of the room ; then back through 
the outside vacant aisle, the rows in turn following until the school is 
marching in single file around the room. The eyes should be directed 
toward the front and the head kept steadily erect. 

In turning a corner, make the steps short and wheel the body squarely 
around, stepping forward in the new direction, keeping the lines straight. 
Much depends upon the self-control and exactness of the leader. 

Single file— backward. 

From marking time, the entire line marches backward once around 
the room. 



So PHYSICAL EDUCATION. 

Face — inward. 

From this position, execute side step right ; side step left. 

Form twos. 

At the back part of the room the first couple turns, facing the two 
7niddle aisles, and marches through them to the front, the succeeding twos 
following in their turn until the entire school is formed in a double column 
up the center of the room. 

Turn— right and left. 

The leader on the right turns to the right, and the one on the left turns 
to the left, each leading around in an outside aisle and again forming 
twos up the middle aisle ; the partners should keep exactly opposite each 
other, and make their facings at the same time ; the floor should be marked 
at the turning points, and the pupils required to turn squarely around on 
corners. 

Cross over — at front. 

The leader on the left will step back and to the right, swinging his 
partner in front of him ; thus crossed over they lead around the room. 

Cross over — at back. 

Partners pass each other before coming up aisles. 

Bow and cross over. 

Before crossing over at the front of the room, the partners pause and 
bow to each other. In the primary grades the pupils may catch hands 
as they form twos up the aisles, and after bowing, the one on the left will 
swing his partner in front of him before they drop hands and cross over. 

Side step and back step. 

At the head of the double column, the pupils keeping their faces to the 
front, each pupil steps out from his own side until he stands in front of the 
outside aisle, through which he passes backward to the rear, where he 
again side steps to the middle aisle and passes forward. This exercise 
will take long and patient practice. 

Single file. 

At the head of the double column the original leader starts out in the 
direction in which he first led, his partner following; all step into single 
file as they come to this point, and march around the room, executing by 
commands the "Manual of Arms." 



FANCY STEPS. 



8i 



To the seats. 

The first pupil of each column will, from the back part of the room, 
lead up his own aisle to his seat, each pupil stopping beside his desk. 

Halt. 

The command should be given just as one foot comes to the floor ; the 
pupil will rest on that, and bring the other to its side. 

Common time is at the rate of 90 steps, quick time, no steps, and 
double-quick time, 150 steps per minute. 

Stair marching. 

Going up and down stairs should be taught in connection with the 
marching. Practical lessons may be given, at which time the children 
may be led by twos or in a line through the halls and on the stairs, and 
instructed to plant the entire foot on the step, and place the work of the 
movement rightly on the thigh and strong mus- 
cles of the leg. The body should not be bent 
forward, but carried easily erect. Stair walk- 
ing, if done in this way, will not tire the body, 
injure the spine, nor exhaust the breath. If 
the breathing were correctly managed on the 
way up, there would be no necessity for stopping 
at the top io get breath. 

After strength and perfect control of the 
body have been gained in marching, the figures 
and changes may be taken with fancy steps, 
which make a graceful recreation. 

FANCY STEPS. 

Swing step. 

1. Swing the foot forward and across, 
at the same time bending opposite knee, 
and throwing opposite hand over the 
head. (See Figure 20.) 

2. Step forward. 

Touch Step (Hands at Side).— Waltz 
Time. 

1. Touch right toe forward (the length of one step). 

2. Touch backward, bend opposite knee. 

3. Step forward. Repeat with left. 

p. E.— 6 




20. 



82 PHYSICAL EDUCATION. 

Cross Step.— Waltz Time. 

1. Touch right toe forward. 

2. Touch the same toe six inches past left foot. 

3. Step forward. Repeat with left. 

Chain Step. 

1. Lift right knee very high and take the waltz step 
obliquely to the right, then to the left. Count i, 2, 3. 

Combination Step. — Polka or March Time. 

1. Touch right toe forward. 

2. Cross it past the left foot about six inches. 

3. Step with right foot, chain with left. 

4. Step with right foot. 

A pretty effect is gained by taking- these steps in single file with clasped 
hands ; the right may be reached forward and the left backward without 
turning the body. 

Double Cross and Touch Step. 

1. Cross the right foot over in front. 

2. Touch it out at side. 

3. Cross it over at back. 

4. Step forward. 

Heel and Toe Step. 

1. Touch heel forward, one step. 

2. Touch toe in same place. 

3. Touch toe backward one step. 

4. Step forward. 

Gypsy Step. 

1, Touch right toe forward to right. 

2. Bend knee and bring ball against left instep, heel in front 
of left ankle. 

3 and 4. Chain two steps. 



FANCY STEPS. 83 

Balance Step. 

1. Raise the foot and swing it across in front. 

2. Balance it forward ; rise on opposite toe. 

3. Step forward, letting the body sway easily. 

Slide and Spring Step.— Waltz Time. 

1. Slide right foot diagonally forward. 

2. Slide left foot after. 

3. Rise on both toes. 

Left the same, etc. 

Glide Step.— Polka Time. 

1. Glide right foot diagonally forward, and bring up left. 

2. Repeat. 

3. 4. Mark time, right, left, right, turn. 

Repeat, leading with left foot. 

In the Swing and Touch Steps the opposite arm may be thrown over 
the head, keeping time with pretty effect as the foot moves in the step. 

When the space in the front of the room will admit, or when the chil- 
dren can catch hands across the desks, it is pretty and cultivating to have 
them move forward and backward in united lines. These steps can all be 
reversed and directed backward. This makes practice up and down the 
aisles easy and possible, while the school faces front. 



THE IRVING SCHOOL MARCH DRILL. 



After three months' practice, this drill was executed in pub- 
lic for the first time, by twenty-four grammar-school boys, at 
the Grand Opera House, April 7, 1890, before the Iowa State 
Encampment of the G. A. R. 

The boys were aligned in two divisions, according to their 
height, the tallest leading. Instead of guns, 
they carried maple wands, three and a half 
feet long. The costumes worn were dark 
knee pants and white flannel waists ; one 
half the number wore blue sashes and red 
ties, while the other half wore red sashes 
and blue ties. The effect of these cos- 
tumes in the different changes was a pretty 
mingling of the patriotic colors. 

In preparing this drill, great watchful- 

W\i"^'^'^F^^ hi ^^ss ^^^ ^^^^ P^^^ ^^ t^^ drill-master and 
determination on the part of the pupils is 
required, in order to correct bad habits of 
carriage. The time-worn motto, '* Learn to 
do by doing," is nowhere more applicable 
than in this exercise. The soldier gains 
his step, his bearing, his courage, and en- 
durance, not by reading his manual, but 
by rigid drill in actual marching. So 
the pupils must overcome bad habits by 
patient practice. The body should be 
held erect, with the chest up, chin in, and hips back. 

The beauty of this drill will be entirely destroyed unless the lines are 
kept straight, the distances regular (about twelve inches from chest to 

(84) 




THE IRVING SCHOOI MARCH DRILL. 



85 



back), and the corners turned squarely. In making the turn, take a short, 
quick step and carry the shoulders around promptly and level. The 
greater number of the movements are not to be made simultaneously, but 
upon reaching a given point in the march, at a certain place on the stage. 

Any good march may be used for music. 
Within a few changes from the last, " Marching 
Through Georgia" makes a lively ending. 

In the drill given, when the music 
began, the two divisions (stationed one 
on each side, in the back wings of the 
stage) began marking time with the left 
foot first. From this position the fol- 
lowing commands were executed : 

1. Forward, march! Lines advance 
toward each other, and meet at the 
middle of the rear of the stage. 

2. Halt! Front face ! Mark time! 

3. Forward, march ! — to front of 
stage. (If the stage is narrow, the divis- 
ions may pass each other and come for- 
ward in two lines instead of one.) 

4. Halt ! Give the military salute 
with the right hand, by counts. (See 
page 69, also Figure 22.) 

5. Right about face! Place the right 
toe back of the left heel, and turn on toes to the right, facing 
the rear. 

6. Mark time ! Forward, march ! Halt ! 

7. Right and left face ! The lines now stand as in first 
command. 

8. Forward by twos. (See Figure 23.) 

The light lines in the figures indicate the position before, and the dark 
lines the position after, the commands are executed. 

9. Single file! — to right and left. (See Figure 24.) 

10. Form twos ! — at the rear. 

11. Turn by twos! — to right and left. (See Figure 25.) 




86 PHYSICAL EDUCATION. 

12. Form fours! — at the rear. (See Figure 26.) 



I I 
I I 
I I 
I I 
I i 



23. 



13. Turn by twos! Fours separate to right and left. (See 

Figure 27.) 

14. Form fours! — at 
the rear. 

15. Turn by fours! — 
to right and left. 

16. Forward fours ! 
*■" "^ """ 17. Company mark 

time ! — at distance, in the 
middle of the stage and execute the following drill four abreast. 

' I Squad Drill. 

I I I. Forward march ! Mark time. 

2. Backward march ! Mark time. 



I I 
I I 
I I 
I I 

I > 
24. 



MM 



25. 



i i i i 

26. 



27. 



3. Forward march ! Mark time. 

4. Right face ! Mark time. 



THE IRVING SCHOOL MARCH DRILL. 



87 



5. Forward march ! Mark time. 

6. Backward march ! Mark time. 

7. Front face ! Mark time. 

8. Side step to right ! Mark time. 

9. Side step to left ! Mark time. 

10. Side step separate ! Alter- 
nate rows step apart in different direc- 
tions. (See Figure 28.) 

11. Forward and backward 
march ! Rows on right side move 
forward, and rows on left side move 
backward. 

12. Side step through ! Lines pass | | | |'"'"~| 
each other and mark time. 

13. Forward and backward 

march ! Rows on right side move forward, and rows 
backward. Mark time. 

14. Side step through ! Mark time at original places. 



I I II 

II II 



28. 



I I I I 

II I I 
I I I I 

left side move 



1 1 1 1 nil 



29. 



15. Forward to the right ! Circle by fours. 

16. Form a wheel ! Circle forward and backward, 

17. Forward fours !— across the rear of the stage. 



(See Figure 29.) 



88 



PH Y^ICA L ED UCA 7 10!^. 



30. 



1 8. Single file! As each four reaches the rear left-hand 
corner of the stage, the pupils right face and march forward 

in single file. (See Figure 30.) 

— — 19. Halt! Right about face! This turns the 

line about and places the small boys in the front 
row in the following figures : 

20. Circle, march! (See Figure 31.) 

31. Single cross, march ! (See Figure 32.) 

22. Front face ! (Side sixes.) 

23. Single file, march ! The first six march for- 



ward, turning squarely to the right ; the second six 



circle into the place previously occupied by the 
first six, front face and follow ; the third six circle 
the same as second six, front face and follow ; the 
last six march forward in line. 

24. Double cross, march ! (See Figure 33.) 

25. Front face (side lines), single file ! Form into line the 
same as from single cross. 

26. Form a pyramid, march ! (See Figure 34.) 






— ^>- 

31. 



27. Forward march ! The first pupil leads to the right, and 
as each row comes to the point where he stood, the pupils in it 
simultaneously face right and follow in single file. 

28. Halt ! Right about face ! 



THE IRVING SCHOOL MAKCH DRILL. 



89 



29. Form twos, march ! — at the middle, in the rear of the 
stage. 



32. 



30. Diagonal, march ! At the front corners of the stage the 



I M ri I i I 
1 1 1 1 1 1 1 

Mill 

1 1 1 



33. 



I 

34. 



two Hnes turn in, and they cross each other at the center of the 



90 



PHYSICAL EDUCATION. 



stage, where the pupils of the two Hnes alternate with each 
other in passing. Repeat this change. (See Figure 35.) 



1"^ 
I 



^1 



^ II ^ 



35. 



31. Turn to right and left, march! The leaders guide 
around the outer edge of the stage and meet at the middle 
of the rear. 

32. Front face! Forward twelve! Six from each side 



i I i i i ii I i i i I 



36. 



march forward and the other sixes meet at the rear. (See Fig- 
ure 36.) 

33. Front face ! Forward twelve ! Stop six feet behind 
first twelve. 



THE IRVING SCHOOL MARCH DRILL. 



91 



34. Front twelve, separate ! Side step to right and left 
until there is room for the second twelve to march through 
to the front. 

35. Backward and forward, march ! First twelve march 
backward and close ranks, while second twelve march for- 
ward and mark time. (See Figure 37.) 



I I I I I I I I I I I 



I I I I I i 



I I 
I I 



I I 



' I 



1--+ 



I I i I I I 



I I I 1 1 I 1 1 I I I i 



37. 



36. Quarter circle to the left by fours ! Execute four 
quarter circles, and mark time after each command. This 
brings the pupils to the position of front face in two lines. 
(See Figure 38.) 

37. Form a star, march ! The six end pupils in the rear 



I I 1 LI I I LI I I L 



II LI I 1 U I I L 



38. 



I I K/LN^I I I "'I 



K 



.\r^.l I I I 



39. 



line move backward, while the six center pupils move forward, 
and vice versa in the front line. (See Figure 39.) 



92 PHYSICAL EDUCATION. 

^^'^. Form a double scjuarc, march ! The three boys stand- 



40. 41. 



■^ o 



ing at the end of each of the Hnes close in, making the two 
I I I I last boys meet squarely. (See Fig- 

I I I I 'III ^^^40.) 

I I ill I 39- ^^^"^ ^ double triangle, 

' I M I march! From the double square 

I I ' I ^he lines march forward, forming a 



double triangle, with the apex to the 
'. (See Figure 41.) 
40. Form an inverted triangle. 



III l||||l n^arch ! The end pupils mark time 



I I I I ' x^2.x. (See Figure 41.) 

! 1 1 1 . . I M j , 

III' while the center pupils come forward 

II' and bring the apex of the triangle to 

,- the front. (See Figure 42.) 

41. Form a single triangle, front 
line side step diagonally backward. This forms one large tri- 

.,|i" 



lull' P 



43. 
angle, with the smaller boys in the rear. (See Figure 43.) 



THE IRVING SCHOOL MARCH DRILL. 93 

42. Cross over, forward march ! The lines pass off the 
stage on opposite sides. (See Figure 44.) 



u '• 



.-> 



Note. — If no wands or guns are used, the hands and arms may be 
exercised in connection with the marching drills. The different exercises 
found in the " Manual of Arms " may be executed with pretty effect. In 
the double marches down the center of the stage each person may place 
the hand that is next his partner on his partner's shoulder, while the 
other hand may rest on the hip or on the top of the head. 



STUDIES IN DELSARTE EXPRESSION. 




45. 

Nay, but hear me yet further.' 



POSTURES. 

"The beautiful is the splendor of the true." 

These attitudes of graceful action and statuesque repose 
cultivate especially the enviable power of self-control, and 
the expression of the emotions, while they also exert their 
influence upon the mental and moral nature. Disraeli says, 
"To believe in the heroic makes heroes ;". and it is no less 
true to say that a courageous attitude will cultivate courage, 
and that an attitude of pride will give self-respect. 
(94) 



POSTURES. 95 

These postures should be practiced until the muscles have 
been trained to give such prompt obedience to the intellect 
and will as shall banish self-consciousness and allow the light of 
the living soul to shine out through unfettered natural beauty. 

The play and dumb music of the body in motion is the 
charm that attracts, and makes not only the face, but the 
entire physical being, the mirror of the soul. 

The principles of expression are based upon the fact that 
all movement has meaning. 

Motion toward the body indicates self-esteem, egotism, or invitation ; 
from the body, command or repulsion. 

Rising motions express suspension, climax, or appeal. 

Falling motions express completion, declaration, or consent. 

A sudden stop in gesture expresses doubt, meditation, or listening. 

A sudden movement expresses decision or discovery. 

A broad and sweeping range of gesture illustrates a general statement 
or expression of boldness, freedom, and self-possession. 

A limited range denotes diffidence or constraint, or illustrates a subor- 
dinate point. 

Rigidity of muscle denotes firmness, strength, or effort. Laxity denotes 
languor or weakness. 

Slow motion is expressive of gentleness, caution, and deliberation ; 
quick motion of harshness and temerity. 

The positions and movements of every part of the body have their own 
significance. We speak of the head as being erect in courage, crouched 
in fear, thrown back in pride, and dropped forward in humility. 

The face expands in pleasure, contracts in pain, and is variously fur- 
rowed in the different emotions. The eyes beam in love, sparkle in mirth, 
flash in anger, stare in wonder, wink in cunning, and are cast down in 
shame. 

The brow, which is the thermometer of the mind, is raised in surprise, 
contracted in thought, and knitted in fury. 

The mouth, lips, and nostrils have their significant expressions ; so also 
have the hands and feet. 

Emotion, with its changes and its bodily manifestations, is so subtle 
and so characteristic of the actor who possesses a responsive body, that it 
is quite impossible to give absolute directions for its expression. In the 
following postures only the general principles for the mechanical execu- 
tion are given. The figures are arranged in groups suggesting easy and 
agreeable transitions. 



96 



PH YSICA L ED UCA TIOA\ 



EXERCISES IN POSTURE. 

Music — "Suwanee River;" or " Flower Song," by Lange. 
Eight or six counts to each position. 

These postures should be executed first as given, then in the opposite 
direction. 

I. 

I. Expectation. — From the position of repose char^^e right 





46. 



EXPECTATION. 



47. 



ATTENTION BACKWARD. 



foot forward ; raise right hand above head, pahn out ; left 
arm folded across the back. Look far into the distance with 
watchful expectation. (See Figure 46.) 

2. Attention Backward. — Retain the weight on right foot ; 
bring right hand to hip ; looking backward, point the left 
hand diagonally back and up, directing the attention back- 
ward. (See Figure 47.) 



EXERCISES IN POSTURE. 



97 



3. Pity. — Hands with palms down, held over and above 
right foot ; bow body as in pity. 

II. 

I. Determination. — Charge right foot to right; hands 
clinched back ; a,rms straight, chest up. 





EXULTATION. 

2. Fear. — Throw right hand up, palnn front ; left hand 
back ; crouch backward. (See Figure 48.) 

3. Renewed Courage. — Bring weight forward to front foot ; 
then clasp the hands and draw them down to chest. 

III. 

I. Exultation. — Cross left foot back ; raise right arm over 
head, palm down ; look to left, left hand on hip. Change 
position of arms and look to right. (See Figure 49.) 

p. E.-7 



98 



PHYSICAL EDUCATION. 




RELIGIOUS DEVOTION. 



2. Religious Devotion. — 
Kneel on left knee ; clasp hands 
over the right ; look down. (See 
Figure 50.) In rising from this 
position, let the movement be 
slow and steady. 

IV. 

I. Doubt or Thought. — 
Weight on right foot forward ; 
forefinger of right hand on fore- 
head ; head bowed. (See Fig- 
ure 51.) 

2. Rejection. — Slowly extend 

hand outward, palm to right ; left at side ; turn head 

slightly to left and 

shake it. 

3. Resignation. — 
Bring weight to left foot 
back ; bow head, and 
cross hands on chest. 
(See Figure 52.) 

4. Vindication. — Ex- 
tend both arms out at 
side horizontally, palms 
up. Arms fall at side 
in repose. 

V. 

I. Guarding Against 
Danger. — Let the right 
toe touch back of left 
heel ; right arm over 

U J 1 r^- U J 1 f4- RESIGNATION. 

head, left hand on left 
palms outward ; look to right and lean to left. 





EXERCISES IN POSTURE. 



99 



2. Pleading. — Step the right foot forward ; extend both 
hands forward, palms up. (See Figure 53.) 

3. Mercury Pose. — Turn the body facing right ; step right 





54. 

STEALTHY STEP. 



foot forward ; point upward with right hand, left extended 
backward ; raise and extend left foot backward ; look to 
right. (See page 75.) 

VI. 

I. The Stealthy Step. — Imagine that you feel it your duty to 
pass the enemy's guard and rescue a precious treasure ; then 
spring forward with the right foot, raise the right hand in the 
attitude of both guarding and listening, then again, with a 
restless look and a stealthy movement, stride forward with 
long, steady steps. (See Figure 54.) 

After advancing several steps, clasp the hands and step 
backward to place. 



lOO 



PH YSICA L ED UCA TION. 



2. Pivoting. — Throw the rit^ht foot back and pivot, turn- 
ing on toes to the right, and to rear. To hold this position 
when the turn is half made makes a pretty atti- 
tude. (See Figure 55.) 

3. Walk to back of stage and pivot again, 






turning face to the front. 



I' r I 



VII. 

1. Modesty. — Turn the right foot over in 
front ; with the left hand catch the dress ; 
right hand hanging at side ; look down ; bow 
body. 

2. Supplication. — Kneel on both knees ; hands 
extended and raised ; face turned upwards. (See 
Figure 56.) 

From this position, throw the arms forward 
down upon the floor, drop the head upon them 
and we have Complete Prostration. 

3. Ad- 

miration. — 
00. 

First step 

PIVOTING. . 

back with 
the right foot, then with 
the left, then advance with 
the head held back, arms 
raised, palms up ; wave 
downward. 

Imagine that a beautiful 
painting hangs before you 
— one that you have seen, 
which you greatly admire 
and love to look at. Try 
to see in the picture the 
beauties that call forth the expression of appreciative happi- 
ness. Let your expression be true to your imagination. 




56. 

SUPPLICATION. 



EXERCISES IN POSTURE, lOI 

Attitudes Expressing Opposite or Unlike Emotions. 

To be given by couples, the pupil on the right executing i, while the 
pupil on the left executes 2, and vice versa. 

Make the change of position promptly, and hold the pose with the 
steadiness of a statue. 

1. 

1. Startled Surprise. — Throw the foot back and, turning 
to the side, look around with restless anxiety. (See Figure 

57-) 

2. Self-possessed Pleasantry. — Fold the arms and look pleas- 





STARTLED SURPRISE. 

"Oh!" 



SELF-POSSESSED PLEASANTRY. 

" Certainly." 



antly to the right. Throw the weight back. (See Figure 

58.) 



I02 



PHYSICAL EDUCATION. 



11. 

1. Listening in 7>rr^r.— Charge the right foot forward and 
Hsten with the right ear ; right hand up ; charge the left foot 
forward and Hsten with the left ear; left hand up. Stand 
listening breathlessly, as though to sounds that ascend from 
below. (See Figure 59.) 

2. Recog7iition. — The first and most natural impulse on see- 





59. 

LISTENING IN TERROR. REASSURED IN RECOGNITION. 

" Hark ! I tremble at the sound " Fear not ! 'Tis but the foot- 

of approaching danger." steps of a friend." 

ing an unexpected friend is to start back in surprise, after 
which, with the recognition, come reassurance and the for- 
ward movement. 

Start backward, throwing the hand up and the weight on 
the left foot ; then lean forward, and bring the hand down. 
(See Figure 60.) 



EXERCISES IN POSTURE. 



103 



III. 

1. Anguish. — Throw the weight back on the left foot ; bring 
the right hand to head, and cHnch left hand, with arm bent at 
side. (See Figure 61.) 

2. Joyousness. — Throw the body backward and the arms 




61. 

ANGUISH. 

Was ever grief like mine ? " 




62. 

JOY. 

After pain, Joy is sweet. 



upward. (See Figure 62.) Put an expression of happiness in 
the entire being and a smile on the face. Use the laughing 
muscles to draw up the corners of the mouth. 

Imagine that you have just heard the delightful news and 
are approaching your mother, saying : 



" I'm to be queen of the May, mother, I'm to be queen of the May." 



[04 



PHYSICAL EDUCATION. 



IV. 

I. Entreaty. — Place the weight on the right foot retired; 
kneel on the right knee, raise the hands, palms up. (See 
Figure 6^.) 

Imagine yourself as in the direst distress, and as entreat- 
ing the only person who can help you out of it. Assume an 
expression of face in accordance with this feeling. 




-^. 




63. 

ENTREATY. 

Hear me, and pity my woe.' 



64. 

DENIAL. 

No ! no ! I cannot listen. 



2. Denial.— '^iQ^ the right foot forward ; hands to the right, 
palms back ; turn the head and look left. (See Figure 64.) 

To make the expression in these postures more earnest and 
effective, the suppliant should kneel close to and catch the 
hand or dress of the one entreated, who should slowly shake 
the head in cold indifference. 



EXERCISES IN POSTURE. 



105 



. V. 

1. Challenge. — Weight on right foot advanced ; right hand 
palm up ; descends quickly in front ; left hand at side ; chest 
up. 

2. Defiance. — Weight on left foot back ; right arm bent 
sharply across chest; hand clinched; back up; left hand 
clinched at side. (See Figure 65.) 





66. 

CONFIDENCE. LOVE. 

Let mutual joys our mutual 
trust combine, 

And love, and love-born con- 
fidence be thine." — Pope. 



VI. 

Confidence and Love. — Following the attitudes of opposite 
emotions the couples fall into the statuesque posture repre- 
senting confidence and love. (See Figure 66.) 



io6 



PHYSICAL EDUCATION. 



VII. 



The pupils separate and assume the attitude of 

1. Faith. — This is given in 
a kneeHng position, with the 
head and eyes raised, and the 
hands crossed on the breast as 
in Resignation, Fig. 52. (Fig. 

67.) 

2. Salutation. — This posture 
is to be taken by the entire 
class. Place the weight on 
left foot advanced ; change the 
weight to the right foot and re- 
tire the left foot, at the same 
time bowing the body ; hands 
palms front, wave slightly down- 
ward. Do not make the bow 
too elaborate nor too stiff, but 
move in a self-possessed, respect- 
ful way. 




67. 

FAITH. 

" My faith looks up to Thee." 
— Palmer. 



In the advanced classes and for 
entertainment exercises, this work in 
" Artistic Drill " may be continued with studies in pantomime and tableau. 
Numerous subjects and suggestions for such work can be found in 
scenes and incidents described in poems and stories, also in paintings and 
statuary. The beautiful imaginings related in " Sandalphon," the patri- 
otic feelings described in " The Rising," and the anxiety, horror, and pity 
found in "The Angels of Buena Vista" all work into pantomime with 
charming effect. The opening lines of " Endymion " give us a good sub- 
ject. William Morris's poems are rich in suggestive descriptions, and from 
any work on ancient Rome and Greece we may get ideas for the popular 
Greek Tableaux Mouvants. 



APPARATUS DRILLS. 

"AH art must be preceded by a certain mechanical expertness." — Goethe. 

Wands — Indian Clubs — Rings — Dumb-Bells — Fencing — 
Recess Recreations. 

These can be successfully used in the seated schoolroom 
except the Indian clubs, and even these can be swung in broad 
aisles, but it is better to practice in an unfurnished room. 

To form on the floor of a hall or drill room, let the pupils, 
arranged according to their height, march in single file to the 
rear of the room, face front, and number by fours or threes, 
mark time and march forward. No. i, standing in place ; No. 

2, advancing two steps, or from twelve to sixteen inches ; No. 

3, four steps, and No. 4, six steps. This gives room and posi- 
tion suitable for apparatus drills. At the close of the drill the 
pupils mark time, and backward march, into single file. 

WANDS. 

In work with apparatus, especial care should be taken that 
the movements are regular, and given with a progressive force 
that will not strain nor jerk the muscles. 

The wands used in the grades should be one and one eighth 
inches in diameter, and from thirty-six to forty-four inches in 
length, varying with the sizes of the children in the different 
grades. These wands can be furnished at any planing mill or 
carpenter shop. Some of our classes have displayed considera- 
ble industrial genius by supplying their own apparatus from 
discarded broomsticks. Aside from the economy, the process 
of making these sticks uniform and polishing and painting 
them afforded the children much pleasure. 

(107) 



io8 



PH YSICA L ED UCA TJON. 



First Series. 

Eight counts to each number. Where the time is not indicated, give 
one count for tlie 7?iove and one {ox positioji. 

Position of wand, vertical: The wand is held ear high at right side, 
by the thumb, fore, and middle fingers, knuckles out. Horizontal : At 
signals or chords (struck with both hands), the wand is dropped in front 
of body, arms straight down, fingers, nails under, hands dividing the wand 
into thirds, or held as far apart as the shoulders are broad. 



I. Bend the arms, bringing the wand to chest ; back to posi- 
tion. (See Figure 68.) 




2. Raise the elbows shoulder high, bringing wand to chest ; 
back to position. (See Figure 69.) 

3. 1,2, Charge right foot forward diagonally right ; at the 
same time raise wand slowly over head ; 3, 4, bring both foot 



WANDS. 



09 



and wand back to position. Same to left ; alternate. (See 
Figure 70.) 

4. Raise right hand to left shoulder, keeping left hand 
down at side. Same with left ; alternate. 

5. I, Raise right hand to left shoulder; 2, bring wand to 
second position ; 3, lower right hand at side, and bring left 
hand to right shoulder ; 4, horizontal 
position. Reverse. 

6. I, Swing wand, arms straight, 
shoulder high, front ; 2, from this posi- 
tion, by twisting waist and turning 
shoulders, swing wand to right, paral- 
lel with the wall, shoulder high ; 3, 
come back to first move ; 4, horizon- 
tal position. To left the same. 

7. I, Face right and bring wand to 
chest ; 2, wand shoulder high front, 
arms straight ; 3, wand on chest ; 4, 
wand over head, arms straight ; 5, 
wand on shoulders, back of head ; 
6, wand over head, arms straight ; 7, 
wand to chest ; 8, face front, wand 
down. Take the same exercise to 
the front ; to the left ; and to the 
front again, resting wand at fifth 
count, on the shoulders. 

8. Waist Motion, i. Turn shoulders 
to right, keeping feet firmly in place ; 

2, turn front ; 3, turn shoulders left ; 4, turn front. Repeat. 

9. Slowly bring wand, arms straight, down to front hori- 
zontal position, eight counts. 

10. I, 2, Bring wand to chest ; at same time step right foot 
diagonally back ; 3, 4, come to position ; slowly alternate, step- 
ping back with right and left foot. 

11. Shooting. Charge right foot diagonally forward, raise 
right hand shoulder high to right oblique, bringing left arm 




no 



PHYSICAL EDUCATION. 



across in front of the body. Take this four times to right and 
four times to left. Turn, pointing wand backward to right and 
left, eight counts. (See Figure 71.) On the last count bring 
wand to perpendicular in front of face, grasping it at lower end 
with both hands, right above; end of wand resting on chest. 

12. Charge right foot diagonally forward, bring left hand to 
right shoulder and slide right hand along and up the wand. 





11. 

pointing it diagonally out and up to right ; when coming to 
position on eighth count, place left hand above the right and 
take the same exercise to the left, eight counts ; on the last 
count come to horizontal position in front. 

13. Rowing Motion. — Charge right foot diagonally forward, 
raise arms, extended shoulder high ; sway back and forth, pull- 
ing wand to chest and stretching it out ; same to left. (See 
Figure 72.) 



WANDS. 



Ill 



14. Rest one measure. 

15. Raise wand over head slowly, and kneel on the right 
knee, eight counts going down ; while on the knee, bring wand 
to chest and back to place four 

times, eight counts ; with wand 
raised, start back to position, at 
the same time bringing wand 
down in front, eight counts. 
Repeat, kneeling on left knee. 
(See Figure 73.) 

Second Series. 

Arranged with especial reference 
to the seated schoolroom. With the 
slightest care, the seat-knocking can 
be avoided. 

March time, unless otherwise 
stated. Count eight for each num- 
ber. 



1. With wand held in verti- 
cal position march to place. 

2. Bring wand to chest. — i, 

2, place left hand under wand and grasp it at right shoulder ; 

3, 4, draw wand horizontally across chest ; 5, 6, by the placing 
of the hands, divide the wands into thirds ; 7, 8, extend arms 
shoulder high front. 

3. Bring wand back to chest and out. 

4. Raise wand to vertical in front ; arms straight ; right 
hand over ; come back to horizontal. 

5. Left hand over. 

6. Alternate 4 and 5. 

7. Extend wand, pointing right oblique, step left foot 
across, pointing the toe in the same direction as the wand ; 
bring wand back to chest and foot back to place. Same to left. 
Alternate. 

8. I, 2, Step right foot back, at the same time raising wand 




I 12 



/'// YSICAL ED UCA TION. 



over head; 3, 4, bring- wand back, resting on shoulder; 5, 6, 
bring foot back to place; 7, 8, wand to chest; four counts. 
Same to left. Alternate. 

9. I, 2, Slide hands to ends of wand ; 3, 4, hold wand on 
chest ; 5, 6, turn facing right ; 7, 8, raise wand over head. 

10. 1,2, Step right foot back, bow forward from waist, arms 
move straight down; 3, 4, 5, 6, throw weight on back foot and 
raise wand over head ; 7, 8, step right foot to position beside 
the left and bring wand down in front. 

11. I, 2, Face front ; 3, 4, bring wand to chest ; 5, 6, turn, 

facing left ; 7, 8, raise wand 
over head. 

12. Facing left, same as 14. 

13. I, 2, Face front ; 3, 4, 
bring wand to chest ; 5, 6, 
raise wand over head ; 7, 8, 
hold. 

14. I, 2, Drop wand back 
diagonally across right shoul- 
der, left arm up ; right arm ex- 
tended downward ; 3, 4, both 
arms down at side, wand across 
back at waist ; 5, 6, right arm 
up, left arm down ; 7, 8, posi- 
tion over head. Repeat. 

15. Reverse, by dropping 
the wand first across the left 
shoulder. (See Figure 74,) 

16. Very slowly bring wand 
to horizontal front position, arms straight down ; slide hands 
in from the ends. 

17. Step the right foot forward and turn right end of wand 
against right knee; kneel on left, keeping left arm straight 
and body steadily erect, both in going down and coming up ; 
sixteen counts. 

18. Reverse, kneeling on the right knee. 




74. 



WANDS. 113 

19. Bring wand to floor ; i, 2, catch wand firmly at the end 
with right hand, fingers up ; 3, 4, hold wand vertical in front 
at arm's length ; 5,6, place wand on floor about sixteen inches 
in front of toes ; 7, 8, rest. 

20. Charge right foot forward, bending only front knee and 
hips ; keep right arm straight, letting the wand incline a little 
forward ; four counts. Repeat. 

21. Charge right foot backward. 

22. Alternate forward arid back, sixteen counts. 

23. Change wand to left hand, and rest. 

24. Charge forward with left foot. Same as 20. 

25. Charge backward with left foot. 

26. Alternate, sixteen counts. 

27. Raise wand from floor; i, 2, raise wand up with left 
hand; 3, 4, catch with right hand, and bring. to position, verti- 
cal at right side. 

28. The pupils will now mark time, and while carrying the 
wands they may execute the schoolroom march drills, at the 
same time introducing pretty changes with the wands. 

By commands the pupils may carry the wands horizontally at limit in 
front ; overhead ; resting- on the shoulders ; or dropped gently on the 
shoulders of pupils in front. 

The Wand Bridge. — While marching by twos, at the rear of the room 
the wands can be crossed, or each pupil may reach his wand over, drop- 
ping it into his partner's left hand ; the pupils then raise their wands, rest- 
ing- them on their shoulders, or to limit over head, while they side step 
forward. As they separate at the head of the double column, each catches 
his own wand and carries it to vertical position at side. 

At the close of the march the pupils will place the wands in the rack, 
and pass to their seats. 

Long Double Wand or Pole Exercise. 

According to their height and strength, divide the pupils 
into groups of four or six. For every group the monitors 
place on the floor, about three feet apart, two light wood poles 
that are ten or twelve feet long and one and one half inches 
in diameter. The pupils will file in line between the poles. 

p. E.-8 



114 



ril YSICA L ED UCA TION. 



At a signal they will stoop down, grasp the poles, and rise to 
position. Then, with uniform movement, the pupils in each 
line will perform, with right, left, and both hands, the various 
movements of pushing and lifting to front, out, up, etc., com- 
bining with them stepping, swaying, etc. 



INDIAN CLUBS. 

In the beginning of the practice, the use of the regular march time 
makes accuracy and precision of movement more certain, but after smooth- 
ness and ease of swing are gained, the rhythm of waltz time gives the 
exercise a more graceful, easy flow of movement. 

Beginners should omit the double movements, and use only one club, 
which should be " passed " from hand to hand as the 
moves are changed from right to left, and vice versa. 
First practice thoroughly on each separate group 
of movements, then combine the entire number into a 
series in which the exercises follow one another in 
smooth succession. 

Sixteen counts to each movement. 
Position. — Arms bent, hands chest high, clubs held 
in front. 

Outward Movements. 

Start the club away from the body. In 
the outward movement, at the start, the right 
club is directed to the right and the left club 
to the left. 

Heart-Shaped Circle. 

^^' In this movement, on the first count the 

club is started upward from position, and swung around in 
front of the body, describing a heart-shaped figure ; on the 
second count it rests in position. In making the circle be care- 
ful to extend the arm directly to the side. (See Figure ^6}) 

Stand in line with some object shoulder high, as a door or 
a window casing, and as the club swings around, aim at the 
object, pushing the arm out and stretching it, especially at the 
elbow. The heart-shaped and shoulder circles form the basis 




INDIAN CLUBS, 



115 



of all the combinations in this series, therefore it is important 
that they be well mastered.. 

1. Swing right club. 

2. Swing left club. 




76. 



3. Alternate right and left. 

4. Double.— Swing both clubs out. 



Shoulder Circle. 

In this movement the club is dropped in a circle back of 
shoulder. (See Figure 77.) 

The tendency to shield the wrist and make an oval instead of a circle 
is so great that long- and patient practice will be required before the end 
of the club will describe a complete circle back of the shoulder. 



ii6 



PII ] 'SIC A T. KD UCA TION 



1. Drop right club to the right and back to position ; eight 
counts. 

2. Drop left club to left and back to position ; eight counts. 

3. Alternate dropping right club to right and left club to 
left. 

4. Double. — Drop both clubs outward and swing back of 
the shoulders and around to position. 





The Complete Circle or Sweep. 

This is a combination of the heart-shaped and shoulder cir- 
cles, with no rest between. The heart-shaped circle is exe- 
cuted on the first count and the shoulder circle on the second. 

1. Sweep right club outward and around, front and back. 

2. Sweep left club outward and around, front and back. 

3. Alternate right and left clubs outward and around. 

4. Sweep both clubs outward. (See Figure 78.) 



INDIAN CLUBS. .117 

Inward Movements. 
In these movements, the club is raised and started across 
the body; the right club always moves first to the left and the 
left first to the right. The order of practice for the inward 
movements is the same as for the outward movements, viz.: 

Heart-shaped Circle. 

I, To the right ; 2, to the left; 3, alternate ; 4, double. 

Shoulder Circle. 

I, To the right ; 2, to the left ; 3, alternate ; 4, double. 

The Complete Circle or Sweep. 

I, To the right ; 2, to the left ; 3, alternate ; 4, double. 

Combination of Outward and Inward Circles. 
(See Figure 79.) 
Heart-shaped Circles. 

I, To the right ; 2, to the left ; 3, alternate. 

Shoulder Circles. 

I, To the right ; 2, to the left ; 3, alternate. 

Sweep. 

I, To the right ; 2, to the left ; 3, alternate. . 

Varied and Complex Movements. 
Lower Front Circle. 

Swing the club out at the side and down in front; there 
stop the arm, and by a wrist movement whirl the club in a 
circle and swing it out on the other side. Reverse. Left 
the same. Swing right and left together. 

Drop Circle. 

The arms are held out from the body. From a horizontal 
position drop the clubs away from the body, making a circle 
on the outside or inside of the arms. Swine the clubs in front 



1 1 



PHYSICAL EDUCATION. 



of the body, with a pendulum motion to the other side ; there 
execute the drop circle again, and so continue to alternate 
from side to side. The feet should be held firmly on the floor 
as the body turns from side to side. (See Figure 80.) 

Raise Circles. 

These circles are made the same as the drop circles, except 




75. 80. 

that from the horizontal position the clubs are raised and fall 
towards the body. 

Pendulum Movement. 

Swing the clubs in front of the body i.n a half circle, shoulder 
high, from right to left, and vice versa — this makes a good con- 



INDIAN CLUBS. 



119 



Parallel Movement. 

Drop the club across the body and draw it over the head, 
holding it there for an instant parallel with the floor, then drop 
it in a short circle back of the head, and finally shoot it straight 
out to horizontal at the side. Again, swing it down in a pen- 
dulum movement in front of the body. Swing both clubs at 




the same time ; while one club is held parallel over the head 
and dropped back in a short circle, the other will be swung 
with the pendulum movement in front of the body ; both will 
reach the horizontal position at the side at the same time. 
(See Figure 81.) 

The Reel Movement, Outward and Inward. 

This is only a succession of double sweeps, made irregu- 
larly ; i. e., one club executes the heart-shaped circle, while 



I20 



FH YSICA L EDUCA'J ION. 



the other executes the shoulder circle, and they so continue 
to alternate throu^j^h the count. 

The Short High Reel. 

This is the same as the preceding mov^ement, except that the 
front circle is made small and does not drop lower than the chest. 

The Six Circle Movement. 

This combines two drop circles, one made shoulder high 
and the other hip high, a double lower 
front, and two raise circles, one made 
hip high and the other shoulder high, 
and the combined shoulder circle. This 
brings the clubs out to the point of 
starting. 

Side Circle Parallel with the Floor. 

Hold the right club to the right, 
holding the side parallel with the floor. 
Swing it in front of the body, bend the 
elbow, twist the wrist, and swing the 
club out to the left side, all the while 
keeping it parallel with the floor. Re- 
verse the swing and bring the club back 
to the right side. 

Both clubs may be swung at the 
same time, following each other. 

The Lower Back Circle. 

Throw the club back of the body, 
hold the hand at the waist line, while the club is turned in a 
circle by a wrist motion, then bring it out to the front under 
the arm. (See Figure 82.) 

Double Back Circle. 

Throw clubs back of the body and circle both at the same 
time. 




82. 



INDIAN CLUBS. 



21 



The Windmill or Full Arm Follow Movement. 

Charge the right foot forward ; at the same time start the 
right club forward and up, and the left club downward and 
back, letting the ends of the clubs equally divide a large circle. 




Move them strongly and steadily in opposite directions. Re- 
peat the motion, charging to the left. If the pupils will turn 
their sides to the audience, the class movement will be more 
effective, and give the appearance of a row of windmills turn- 
ing slowly around. It takes much practice to attain to class 
uniformity in this exercise. (See Figure 83.) 



122 



PHYSICAL EDUCATION. 



The Closing Salute. 

Charge forward, execute drop circles to the front ; on the 




last count catch the clubs under the arms, and step back with 
a slight bow. (See Figure 84.) 



RINGS. 

If there is a large space in front of the seats, this drill can 
be taken in the schoolroom by at least sixteen pupils. 

The March Preceding Ring Drill. 

Execute each movement twice, except when otherwise indicated. 



1. March into or around the room so as to come up center 
aisle by twos. (Rings on hips.) 

2. The lines turn to right and left, and again form twos. 



ICINGS. 



123 



3. Partners Swing. — Throw middle rings together, raise 
the arms, cross over, the one on the left passing under the 
arms' " arch." (See Figure 85.) 




4. Cross over at foot of line. Forward by twos. 



I I 



86. 



5. Leaders turn to right and left, lines crossing diagonally 
at front of room. Figure 86 shows line of march for one side. 



1 24 PII YSICA I. KD UCA TION. 

6. Partners meet and bow ; lead ri<4hl and left. Bow at 
foot of line; come up center by twos. 

/. Side step. — Left column moves to left two steps, right 
column to right two steps. Back step. Side step. — Left column 
to right two steps ; right column to left two steps ; come up 
center by twos. Form into position for drill. 

Ring Drill.— First Series. 

In this series each pupil holds two rings. For exhibition occasions, 
bright ribbons tied to the rings give a pretty effect to the drill. 

Music, l time. After forming in position rest two bars, with one 
ring in each hand. 

1. Military Salute. — Left hand four counts, right hand four 
counts. 

2. Manual of Rings. — If given to commands, move promptly 
on the word rings. If given to music, hold each position fcnir 
counts. 

Carry Rings. — Cross arms, left over right, on chest, rest- 
ing rings on shoulders. 

Present Rings. — Extend arms out in front, holding circles 
to the front. 

Shoulder Rings. — Rest the rings on the shoulders, with 
edges to the front. 

Elbow Rings. — Rest the elbows on the rings, waist high. 

Telescope Rings. — Double the rings in front of face and 
look through the circle. 

Reverse Rings. — Throw them back of the body. 

Raise Rings. — Extend arms parallel over head, circle of 
ring to the front. 

Cross Rings.— Cross wrists over head, keep rings even, 
arms as straight as possible. 

Drop Rings. — Drop the crossed arms down in front of 
chest. 

Support Rings. — Bring rings to the hips, and rest. 

Secure Rings. — Fold arms, throwing rings back under 
arms. 



RINGS. 



125 



3. Mercury Posture. — Take posture i, 2; pose, 3, 4, 5, 6; 
position, 7, 8. By twos assume posture. (See Figure 87.) 

Rest two bars. 

4. Click. — Swing hands in front; rings touch on i, 3, 5, 




87. 



7 ; hands at side on 2, 4, 6, 8. CHck rings back of body. 
Alternate front and back. 

Slow time. 

Turn facing left oblique front, and click rings over head. 

Rest two bars. 

Turn facing right oblique front, and click rings over head. 

On last count bring arms to horizontal at side. 

5. Chest Movement. — Left hand to chest, i, 3, 5, 7 ; side, 2, 
4, 6, 8. Right hand to chest, i, 3, 5, 7 ; side, 2, 4, 6, 8. Alter- 
nate. 

Bring rings to the side. 



126 PHYSICAL EDUCATION. 

6. Swing right hand above head to left, and left foot over 
to right on i, 3, 5, 7 ; first position on 2, 4, 6, 8. 

Left hand and right foot the same. 

Alternate. 

Rest two bars. 

7. Tambourine. — Left ring to right elbow ; right shoulder 
front ; right shoulder back ; ring in front of face ; over head ; 
left shoulder front ; position, 7, 8. 

Right hand same. 
Rest two bars. 

While resting dispose of one ring, tying it in sash or drop- 
ping it on the floor. 

Ring Drill.— Second Series. 

Rest one bar and turn, facing by couples with side to front, 
right toes touching, catch rings. Each pupil holds but one 
ring. 

1. Twist. — For muscles of the arms. Twist front ring up, i, 
3, 5, 7 ; down, 2, 4, 6, 8. Twist back ring same. Twist alternate 
rings same. Twist both rings same. 

2. Shoulder Movement. — For arm muscles. Front ring to 
right pupil's left shoulder; back ring to left pupil's left shoul- 
der. Change front ring to left pupil's right shoulder; back 
ring to right pupil's right shoulder. 

Repeat, giving movement four times. Pull strongly away 
from each other for one measure. 

3. Charge. — Both pupils step left foot forward and charge 
to left, past each other, the chest of one pupil being against 
the arm of his partner. Forward on i, 2, back on 3, 4; for- 
ward on 5, 6, back on 7, 8. Charge to right in same manner. 

Rest two bars. 

At beginning of second bar, or on fifth count, partners turn 
back to back, as children '' wring the dishcloth," keeping both 
hands clasped on rings, every couple turning the same way. 

4. Swing. — Swing both hands out shoulder high. Swing 
on I, 3, 5, 7; down on 2, 4, 6, 8. 



RINGS. 



2; 



5. Swiitghoih. hands out, over, and in to shoulder (describ- 
ing a circle with hands). Swing up on i, 3, 5, 7 ; down on 2, 
4, 6, 8. 

6. Posture, — '' Interlaced circles." Twine the arms to- 
gether, catch rings and pose. (See Figure 88.) Drop arms. 

7. Face. — Catch Rings. — Side step toward the front, front 
arm raised. Four counts. Toward the back the same. Alter- 
nate. 





88. 



89. 



8. Posture. — " Picture Frame." Front ring above heads, 
back ring up, partners looking through the frame. (See Fig- 
ure 89.) 

9. Kneel on back knee, slowly bring raised arms down- 
ward, eight counts. Hold on knee, four counts. Rise, four 
counts. 

Rest two bars ; two couples face each other, forming fours. 



^-^ PHYSICAL EDUCATION. 

10. All fours catch rings, circle to the right, circle to the 
left, eight counts each. 

1 1. All fours step to the center of circle and raise rings, cross- 
ing them. Hold the posture four counts and step back to 
places. 

12. Two of the pupils raise their arms, and form an arch, 
under which they all pass and face outward. 

13. Stretch arms outward and upward to limit, bracing the 
feet and pulling strongly. Raise and lower them several times, 
and relax into position. 

14. All step backward to center, and raise arms high over 
head, bringing rings together. Step back to place. 

15. Two pupils again form an arch, while all pass under, 
break connection, and take original places. 

16. Mark time^ and pass to seats in order. 



DUMB-BELL SERIES. 

All exercises with dumb-bells should be given with a 
moderate, steady movement, in graceful lines, without jerking 
or throwing the bells against the body with too much force. 
The class movements should be simultaneous, vigorous, and 
precise, with frequent rests thrown in. Dumb-bell exercises 
may reach all parts of the body, but are especially helpful in 
developing the chest and arm muscles. These exercises may 
be taken while the pupils are standing in the aisles, beside each 
alternate desk. 

Count eight to a set of movements. 
Preparation. — Class with bells in hand. 
Count I, Bells on chest. 

2. Slide to left side of seat. 

3. Step into the aisle. 

4. Pupils step beside the desks assigned. 

5. 6. Measure distance. (Stretch the arms to the front and out 

at the side.) 
7, 8. Bring bells to side. 



DUMB-BELL SERIES. 1 29 

1. Hands down at side, twist bells forward and back seven 
counts ; on eighth count bring bells shoulder high out at side, 
palms down. 

2. Twist bells, bringing palms down and up seven counts ; 
on the eighth count bring bells over head. 

3. Twist bells over head seven counts ; on eighth count 
bring bells to front, shoulder high, palms in. 

4. Twist bells in front ; on eighth count bring them to 
the side. 

5. Strike bells in front, first one end, then the other. 

6. Strike bells over head, then strike the opposite ends of 
bells back of body ; on the eighth count bring bells to side, 
and rest one measure, on the last count of which bring bells 
to chest. 

7. Push right bell horizontally out at side and back four 
counts. 

Left the same. 
Both the same, eight counts. 

Take Seventh Exercise above the head diXid in front of shoul- 
ders, in the same order as out at side. 

8. Push right bell upward and swing outward in a circle 
and back to chest, eight counts. 

Left bell the same. 

Circle both bells out the same. 

Rest one measure, and bring bells to side on the last count. 

9. Lift right bell under right arm, raising the elbow 
shoulder high, four counts. 

Left the same. 

Both bells the same, eight counts. 

10. Charge right foot forward, bending the knee strongly, 
raise right bell above the head, palms front, and place left bell 
on the hip. Repeat. 

Left foot the same. 

Right foot and both bells the same. 

Left foot and both bells the same. 

(These positions are taken slowly, and held as postures two counts.) 

P. E.-9 



I30 PHYSICAL EDUCATION. 

11. Bend the body from the waist line to the right; at the 
same time curve left arm over the head and bring the right 
bell to the right hip, counting two for the motion and two for 
the recovery. Repeat. 

Same to the left. 
Rest eight counts. 

12. In front of waist strike lower ball of left with upper 
ball of right bell, and vice versa, eight counts. 

13. Charge forward with right foot and stand bells on the 
shoulders, palms front, holding the position two counts. 

Same to the left. 

14. The Anvil Stroke. — On first count swing right bell at 
arm's length in front, palm in ; on second count strike it with 
the lower ball of left bell, and swing it down and back to 
shoulder. Repeat the motion, striking left bell, and so alter- 
nate through eight counts. 

Right face, and rest through the measure. 

15. I, 2, Charge right foot forward, and throw weight upon 
it, extend both arms at side, shoulder high, palms front ; 3, 4, 
sway weight of body back and bring bells together in front ; 5, 
6, sway weight forward and open arms out at side. Repeat the 
exercise through sixteen counts, coming to position on the fif- 
teenth count. 

Same with the left foot advanced. 

Take the whole of Exercise XV., facing front and facing 
left, then front face and rest eight counts. 

This is an excellent exercise for chest expansion. 

16. Charge the right foot backward and bring bells to- 
gether over the head, holding to the seventh count, then come 
slowly to position. 

Same with the left foot back. 

17. Charge the right foot forward, bring right bell to right 
hip, and point left bell diagonally to the rear, looking back^ 
ward. Hold to the seventh count, and come back to position 
slowly. 

Same with the left foot forward, 



FENCING. 



131 



18. Step right foot back and kneel slowly, at the same 
time folding arms across chest and dropping head forward. 
Hold eight counts. While still kneeling, 
raise the head and extend the arms to the 
side ; hold four counts ; raise them over the 
head palms front ; hold four counts ; then 
rise to erect position as the bells are 
brought down to the side, eight counts. 
Same on left knee. 

A very pretty effect is gained by facing to the 
right or left before executing this kneeling exercise. 

19. The Dumb-bell March. — As the chil- 
dren march around the room, dumb-bells 
in hand, give the commands for arm exten- 
sion out, up, down, etc. ; also arm foldings 
and arm twistings. 

The Charge, which is so much used in 
the '' Dumb-bell Drill," must be taken 
strongly, with weight thrown on the front 
foot, front knee bent, and back leg straight. Keep the chest 
well up and the back straight. (See Figure 90.) 




FENCING. 

Broad-sword Movements. — March Thne, 
For these exercises use light sticks or steel foils. 

Blows. 

The stroke of the sword is aimed directly at the parts of the body named. 

1. Top of head. 

2. Left cheek. 

3. Right cheek. 

4. Left shoulder. 

5. Right shoulder. 

6. Left thigh. . • 

7. Right thigh, 



1^2 PHYSICAL EDUCATION. 

Guards. 

These correspond in number to the blows. 

1. Sword parallel to floor, eight inches above and in front of the head. 

2. Sword perpendicular, hand shoulder high on left, body slightly 
turned to left ; sword to side and front of face. 

3. Same as 2, but on right. 

4. Same as 2, but hand elbow high on left. 

5. Same as 4, but on right. 

6. Swing sword from position down across right knee, right forearm 
nearly parallel to floor, point of sword near to floor, finger nails front. 

7. Reverse 6, right arm bent, elbow back, back of hand front, guard 
right thigh. 

Taking Distance. 

Two pupils stand side by side, swords at "carry"; at chord or count 
they face each other and step apart, taking "distance" ; each pupil stands 
with the sword handle touching his own body, and point of sword touch- 
ing his partner's sword hilt, parallel to floor, waist high. 

Taking Position. 

Step left foot back, putting the weight principally upon it, right arm 
half bent, elbow six or eight inches from the side, point of sword not higher 
than eyes, left arm back of body. 

Blows and Guards. 

Let pupil No. I, on the right, give the first blow four times, coming to 
position, and striking swords crossed between blows ; pupil No. 2 guards 
against blows. 

Then change ; and so alternate each blow and guard. 

It takes much practice to give the blows alternately. When striking, 
sway the body slightly forward, but in guarding, hold the body firmly in 
place, moving only the arm. 

Lunging. 

Position same as fencing. Five blows, viz., i, head ; 2 and 3, shoulders ; 
4 and 5, lower blows. Guard same as for fencing. 

Pupil No. I will lunge and strike ; pupil No. 2 will step right foot back 
of left, charging distance, and guard. From this position. No. 2 will lunge, 
and No. i step back and guard ; left foot remains in place. Hold each 
lunge two or four counts. 



FENCING. 133 

Short Salute. 

1. With sword at " carry", and distance taken. 

2. Bring swords to horizontal position down in front, 1-4 counts. 

3. Swing both hands over head, sword parallel to floor, 4-8 counts. 

4. Left arm back of body, right hand chin high, sword perpendicular, 
8-12 counts. 

5. Lower point of sword to floor in front of left foot, 12-16. 

6. Strike sword below on left, 1-4. 

7. Strike sword below on right, 5-8. 

8. Bring sword to position (always on the right), 8-12. 

9. Bring right hand to chin, sword perpendicular on count 13 ; bring 
sword down on right side, palm front 14; back to 13, count 15 ; position 
to fence, 16. 

Long Salute. 

1. Carry arms. 

2. Half face to left, pointing sword down and to front of room. 

3. Raise hand, sword point up. 

4. Horizontal in front, blade between knuckles of third and fourth fingers. 

5. Bring sword over head, arms up. 

6. On guard, position for fencing. 

7. Bring heels together ; point sword front. 

8. Half salute to right. 

9. Half salute to left. 

10. Half salute to right. 

11. Face salute, bring to face twice. 

12. Lunge forward right foot, salute from face. 

13. Half salute to right. 

14. Moulinet circle over head, sword pointing left and then right. 

15. Face salute. 

16. Position carry. 

17. Pupils step side by side, wheel right, and march off". 

Order of Exhibition Drill. 

I. Short salute. 
II. Take blows through once, striking two blows each. 

III. Take blows through twice, striking once. 

IV. Take lunges once. 

V. From last lunge on i and 2, front face and bring swords 
to vertical position in front of face ; counts 3 and 4, point 
sword downward ; 5 and 6, carry swords ; 7 and 8, hold position. 



134 



PHYSICAL EDUCATION. 



RECESS RECREATIONS. 

" Wholesome recreation conquers evil thoughts." 

The Horizontal Bar. 

This apparatus is simple and easily provided. From a thick 

board cut two cleats ; hollow out 
the middle, and screw one on 
each side of the cloak-room door, 
about as high as the average 
'' reach " of the pupils. Make a 
pole of hard, strong wood one and 
a half inches in diameter, square 
at the ends, and just long enough 
to drop easily into the top of the 
cleats. 




Practice. 

Let the pupils form in line and take 
turns in springing up and catching the 
bar. Let each one pull up until' the 
chin rises above the bar, then slowly- 
lower himself to the floor and pass on, 
giving the next one a chance. At first 
take one pull, and by degrees, as time 
goes on, increase the number to three 
91 . or four. 

Not being fixed, the pole can be re- 
moved after practice, and the door left unobstructed. 

Vaulting. 

A set of cleats may be placed lower down in the door, 
probably two feet from the floor, the pole dropped into 
them and used for a vaulting bar. To assist the pupils, larger 
children, one on each side of the door, may stand and catch 
the hands as they '' jump " the little ones over. 

These exercises are practiced at the time of the indoor 
recess and must be taken under the direct supervision of the 
teacher. 



RECESS RECREATIONS. 



35 



Touching the Corner. 

Nothing is more effective in expanding the chest than the following 
simple exercise : 

Stand with the hands placed on the walls shoulder high on 
each side of a corner, about arm's 
length from it. The feet, one a 
little in advance of the other, are 
about the same distance from the 
corner as the hands. From this 
position lean, pushing elbows 
back and chest forward until the 
nose touches the corner, then 
push slowly back to erect posi- 
tion. With practice, this move 
can be taken ten or more times 
in succession. 

Test of Strength. 

This is an excellent test of the 
strength of the legs and the back, and 
must be practiced slowly, and with 
steadiness. 

Going Up. — I. Fold arms 
back, holding them firmly with 
the hands, and raise the chest. 

2. Each pupil turns, facing 
the platform. 

3. Either foot may be used, but for uniformity, raise the 
right foot and place it on the platform, heel and all. 

4. Push up with the left foot. 

5. 6, 7. Rise steadily to erect. 

8. Bring up left foot and stand firmly upon the plat- 
form. 




Stepping Down. — i. Hang left foot back. 
2, 3. Sink down. 



13^^ 



PH VS/CA L ED UCA TION. 



4. Touch the floor with toe. 

5. Bring right foot down. 

6. Turn front. 

7. Unfold arms. 

8. Position. 

By this practice may be taught the proper way to carry the body, to 
plant the foot, and raise the body in climbing the stairs. 




93. 



Desk-Pushing. 



Practice the following exercise, using the desks for apparatus. These 
movements bring into action the muscles of the back and shoulders, as well 
as those across the chest. 



1. Pupils rise into the aisles and step backward until each 
pupil's toes are even with the back foot of his seat. 

2. Raise the arms parallel vertical, palms to front. 

3. Keep the toes on the floor, lean forward, placing the 
hands on the desks at the side. Keep the head up, chest ex- 



RECESS RECREATIONS. 



137 



panded, and slowly bend the elbows, pointing them upward, 
and sink down until the chest is as low as the desk. 
4. Push slowly upward until the arms are straight. 

Repeat the exercise, not oftener than three times at first. Increase the 
number of repetitions as the strength grows. 

Swinging in the Aisle. 

This is an excellent exercise for strengthening the muscles of the arms 
and the back. 

1. Pupils stand in the middle of the aisles, between desks. 
Place hands same as for previous exercise, but do not step back. 

2. Raise the elbows, throwing the weight on the hands. 




Raise the feet from the floor, lock them together, and bend 
the legs back from the knees. 

3. By counts swing forward and back in the aisle. 

4. Bring the feet to the floor, and the body to an erect 
position, with hands at side. 



MISCELLANEOUS SUGGESTIONS. 

BOWING. 

No form of gesture or expressive movement is more often 
abused, nor yet can be given with more charming effect, than 
this bugbear of Friday afternoons. It is positively cruel to call 
an untrained child before a school and require him t9 '' make 
a bow." This so-called bow is usually a *' nod " which amuses 
the school, embarrasses the child, and still leaves him in utter 
ignorance as to the proper thing to do. 

The Schoolroom Bow. 

This bow may also be used in the parlor, in going before 
an audience, or in acknowledging applause. It should be made 
with graceful repose. 

Boys make this bow from '' First Position, Standing," by 
slightly inclining the body forward from the hips ; the arms 
hang easily at the side, while the eyes glance forward and over 
the audience. Never drop the head so low as to hide the eyes, 
or the attitude will take on the air of humility. 

It 2&OX As girls an opportunity for displaying self-possessed 
grace of movement. Practice according to the following analy- 
sis until the bow becomes one smooth, continuous gesture : 

1. Touch right toe back (for class uniformity begin with the right), 

2. Bow forward at hips, letting the arms fall at the side, and at the 
same time bringing the weight to the retired foot. 

3. By a succession of movements, beginning at the feet, raise the body 
to erect position, simultaneously changing the weight back to the advanced 
foot ; or for a more elaborate parlor bow the weight may be retained on 
the right foot while the left is brought back ; this latter execution changes 
the position of standing. In the higher grades practice both forms. 

(138) 



HA ND- SHA KING. 1 39 

The Street Bow. 

On the street, as elsewhere, it is well for children to wait 
for an indication of recognition from their elders, yet there is 
no strict rule of formality governing the matter as to who, 
lady or gentleman, old or young, shall speak first. The greet- 
ing should be without pertness or affectation, and it is con- 
sidered more respectful to accompany it with the name of the 
person spoken to. 

The boys should not omit the graceful salutation of politely 
lifting their hats, which, in order to prevent the hand from 
passing between the faces, should be done with the hand away 
from the person passed. 

Of the girls only a slight inclination of the head, with a 
cheerful look and pleasant word of greeting, is required. 

Bowing should be carefully and earnestly practiced as a 
regular schoolroom lesson. 

The exercise may be taken in the aisles, or the pupils can march for- 
ward, and in turn execute the schoolroom bow upon the platform. For 
practicing the street bow the boys and girls may form in separate columns, 
and by twos advance from opposite sides of the room, bowing as they pass 
each other ; the boys can make a semblance of raising their hats, or they 
may actually wear them, and here they could also be taught how to carry 
their hats. Not one boy or man in fifty manages his hat with graceful 
ease as he removes it from his head at the church or hall door. For uni- 
formity teach the boys in line to carry their hats in the left hand, thumb 
inside and fingers outside. The right hand is then free for greeting. 

HANDSHAKING. 

The movement, grasp, position, and expression in a greet- 
ing may be, and are, more often than not, so influenced by 
awkwardness, laziness, physical weakness, or animal strength, 
that the act becomes totally ungraceful and meaningless, with 
no significance excepting that which is purely conventional. 
Naturally we do not shake hands with grace of motion and 
a true physical and spiritual correspondence, any more than 
we stand or walk well without training. If we did, then any 



140 PHYSICAL EDUCATION. 

attempt to change our manner of salutation would indeed be 
wrong, and tend to make us artificial in act, and so add one 
more insincerity to life's list of hollow pretensions. 

Inasmuch as the hand-grasp quickly impresses us favorably 
or unfav^orably, it deserves special attention in connection with 
psycho-physical training. To possess the art of giving a polite, 
quiet grasp, equally free from extravagant manifestations of 
feeling or chilly indifference, is even more desirable than to be 
able to take a gentle, easy step, or to make a graceful bow. 

As a practical exercise, the pupils can be taught to rise 
quickly, and stand in graceful ease while they extend their 
hands with a movement of body and an expression of face in 
harmony with the situation, and the degree of interest or friend- 
ship to be expressed. In connection with this exercise the 
teacher should occasionally pass around among the pupils, and 
shake hands with them in a cordial, cultivating way. If her 
manner is true to her feelings, and her feelings are what they 
should be towards her pupils, it will give her an opportunity 
to express sympathy and encouragement, and will prove very 
helpful in the matter of discipline. 

Order of Practice. 

School rise. The boys and girls may pass into separate lines and form 
in double file up the aisles on each side of the room ; or the rows may face 
each other, boys and girls standing together promiscuously, as they have 
been seated. The arrangement is optional with the teacher, who should 
use great care to make the practice earnest and cheerful, and free from 
frivolity. 

Count four for the exercise, 

I. The pupils by couples face each other, step forward with 
the right foot, keeping the weight on the left, and extend the 
right hands, clasping them easily. 

II. Raise the hands, clasped, not so high as the shoulders. 

III. Gently bring the hands downward with a slight pres- 
sure, at the same time slightly incline the head forward and 
raise the chest. 



ESTHETIC EXHIBITION DRILLS. I4I 

IV. Unclasp the hands, and bring the foot back to base 
position, and the body erect. 

A greeting may be extended to a stranger at introduction, or an 
acquaintance or friend at meeting, the degree of feeling to be expressed 
varying with the different relations. 

The greeting given to an acquaintance differs from that given to a 
stranger, in bringing the v^eight forward and bowing lower, and with a 
greater degree of interest expressed in the face. 

The greeting to a friend differs from the other expressions in bringing 
the weight entirely to the front foot, throwing the chest well forward, and 
being in every way more intense and expressive of cordial good cheer. 

>«ESTHETIC EXHIBITION DRILLS. 

We most heartily disapprove of all such special drills, or 
spasmodic efforts in physical action, as for a time produce a 
magnificent display, overdo and excite the pupils, but leave 
them possessed of no lasting benefit. Yet by way of brighten- 
ing and supplementing the practical health and deportment 
exercises, and for the purpose of attracting public attention to 
the useful side of the work as well, these aesthetic displays may 
be occasionally and judiciously used. 

To an ingenious teacher who understands the principles of 
physical culture, we need give only a few suggestions and she 
can formulate and arrange many pretty and novel exercises. 
In planning these drills, let the pupils suggest and think of all 
ways imaginable in which the article in hand may be used. 

Language of Flowers. 

For the closing school exercises in May or June nothing is 
more beautiful than a " Flower Drill" or "Wordless Poem." 
The girls' costumes may be of plain white, simple in style, 
Greek, or Kate Greenaway ; the boys should wear green 
and gold. Each pupil carries a large bouquet, and the girls 
wear wreaths. They enter the stage in couples, keeping time 
to music with a fancy step. After taking their positions, 
they assume postures and graceful attitudes, and perform all 



142 PHYSICAL education: 

possible beautiful actions associated with flowers. The 
flowers are admired, smelled, waved in good-by, presented in 
joy, given in condolence, festooned in garlands over the bride's 
head, and finally, for a closing tableau, by a dexterous move- 
ment, the children arrange themselves on a tier of steps at the 
rear of the stage, in the form and appearance of a huge 
bouquet. 

The Parasol Drill. 

This drill can be made very attractive by the use of bright, 
pretty parasols, and it gives the girls an opportunity to display 
grace and deftness in their management. 

The Racket or Tennis Drill. 

By any one who understands the tennis game, this beauti- 
ful drill can be very easily arranged. 

The Waiter Drill. 

With plates and pitchers this gives an opportunity to intro- 
duce very amusing situations and quick, effective movements. 

The Handkerchief Play. 

It is surprising to note the almost limitless sphere of the 
handkerchief, from the Chautauqua waving of the " white 
lilies " to the play of " Blind Man's Buff " or " Drop the Hand- 
kerchief." 

The Hoop Drill. 

Take a half circle, wreathed in flowers or decorated with 
ribbons ; hold each end, and perform the Wand Movements 
with it. This makes a pretty exercise. Also use the round 
hoop. 

The Doll Drill. 

For the little girls this is a very charming pantomime. The 
children should be dressed in long dark dresses, white capes 
and caps, The dolls should also wear long dresses, The little 



COURTEOUS SCHOOL DEPORTMENT. 1 43 

mothers enter, carrying the dolls, and singing, to the tune of 
**The Campbells are Coming," " The Dollies are Coming," etc. 
They should have little kindergarten or rocking chairs, and 
rock their dolls, reprove them, kiss them, trot them, shake 
them ; then rise, and walk them, toss them, etc. All of these 
motions can be performed to the time of music. 

The Hat Drill for Boys. 

The hat may be carried, and used in all the practical and 
pretty ways that good breeding, burlesque, and humor may 
suggest. 

The Fan and Broom Drills. 

These drills have long been familiar recreations. 

COURTEOUS SCHOOL DEPORTMENT. 

" Whatsoever ye would that others should do unto you, do ye even so 
unto them." 

True politeness is based upon unselfishness of character. 
A warm heart and a thoughtful consideration for the com- 
fort of others will often atone in a great measure for lack of 
polish and finished grace of manner. Yet a jewel ** in the 
rough " is never so much admired or enjoyed as the same jewel 
after it has passed through the refining hands of the cutter and 
polisher. Therefore, teach the children that the cultivation of 
a noble character is the first and most important step in the 
road that leads to correct deportment, but that the little, in- 
tangible, yet perceptible points in behavior are the outward 
and visible signs of the spirit within. Show them that good 
breeding may be made manifest even in such small matters as 
the quiet opening or the gentle closing of a door, the manner 
of receiving or giving any article that is to be transferred, or 
the careful, quiet step taken on entering or leaving a school- 
room. It certainly is true that courteous manners exert a 
strong influence upon the spirit of the school. 

It has been truly said that '' a school which leaves th^ 



144 PHYSICAL EDUCATION. 

room properly and in good spirits in the evening is lialf started 
on the next day's work." 

It is equally true that in the halls, around the door, and in 
the classroom the real spirit of the school is made manifest. 

We would not discourage a hearty laugh, when it is guarded 
with proper civility, but simpering and boisterous mirth are 
alike rude, and should forever be banished from the school- 
room. On Friday afternoon, or on other appropriate occasions, 
permit the children to express proper applause, but so strongly 
denounce the rudeness of whistling and stamping, that the 
children will not be guilty of it even at entertainments outside 
the schoolroom. 

As a gentleman is distinguished by his respectful atten- 
tion to ladies, teach the boys to be courteous to girls, wait 
for them to pass, erase the work from the blackboard for 
them, and do such other little thoughtful acts as show con- 
sideration. 

" Be not forgetful to entertain strangers," is a precept 
which should have a place in every child's code of ethics. I 
once noticed that one little girl in a school was receiving 
especial attention, and asked the reason why. The teacher 
replied that the child had recently entered school, and that the 
other children felt it their pleasant duty to assist her in her 
lessons, and make her feel in every way at home. 

Teach the offensiveness to others of the degrading use of 
tobacco, as well as the deleterious effect upon one's own health. 
This will do much to prevent the formation of the bad habits 
of smoking and chewing. 

The virtues of self-denial and endurance should be strongly 
impressed upon the young mind, until they weave themselves 
into the character, and banish complaint and restless selfish- 
ness. This art of self-government will work itself into school 
government, and finally into state and national government. 

The teacher should be truly polite, and " see in each indi- 
vidual the ideal person, making no distinction between the 
high and the low." Never, as a pretence, should he permit 



BATHING 145 

himself to say that which he does not mean, but he should at 
all times be earnest, cheerful, and true with his pupils. 



BATHING. 

Since bodily cleanliness and perfect physical development 
must go hand in hand, the subject of bathing may very fit- 
tingly receive attention in a book of this character. It is a 
lamentable fact that too many people are neglectful of the 
simple and yet effective aid, in the preservation of health, 
which careful attention to the bath would supply. 

To a large proportion of people the luxury of a roomy 
bathtub in the home, with its hot and cold water in abundance, 
and its possibilities for easy and frequent ablutions, is unknown ; 
but a sponge bath twice each week in hot water, with some 
good toilet soap, freely used, will keep the skin in an active 
and* healthy condition, and if to this be added once in a while 
a tepid water bath in which common salt, or, better still, sea- 
salt, has been dissolved (using a handful of the salt to an ordi- 
nary wash-bowl full of water,) the tonic effect will be quickly 
perceptible. The hot bath should be taken at night, as it is 
better, both for the health and the complexion, that exposure to 
out-door air should not directly follow, but the salt-water bath 
may be taken in the morning, if preferred. This should be fol- 
lowed by vigorous friction, and the whole process need not 
consume over ten minutes of the valuable morning time. 

The children should be taught that the pores of the skin 
must be kept open, in order that the waste matter of the body, 
which is dependent upon these channels for a way of escape, 
may be properly disposed of, and not be reabsorbed by the 
system, to the great injury of the health. They will readily 
become interested in the physiology and hygiene of the sub- 
ject, and can be made to see that there is a real and important 
reason why attention should be paid to personal cleanliness, 
and not simply an imaginary or unduly fastidious one. 

Genuine self-respect cannot exist unaccompanied by cleanli- 

P. E.— ro 



14^ PHYSICAL EDUCA710N. 

ness, and the pride of the children may be appealed to in try- 
ing to impress upon them the importance of careful attention 
to this form of body culture. Then, too, they will quickly grasp 
the idea that purity of body may be symbolic of purity of mind 
and heart, that truly " cleanliness is next to godliness," and 
that if they would have pure hearts in well-kept bodies they 
must be careful to keep both thoughts and bodies clean and 
sweet. Once their minds are awakened to an appreciation of 
the importance of this subject, attention to the bath will come 
to be as much a matter of course as the care of the hair or 
of the finger nails. 

A child's sluggish condition may, and often does, arise from 
the fact that he needs a bath ; this the teacher can kindly sug- 
gest. After a suggestion of this kind from a careful, observing 
teacher, a little girl came the next morning with happy face 
to tell the teacher that '' mamma gave brother a bath last night, 
and his headache is all gone this morning." 



DIET. 

If children always could be provided with regular meals of 
plain, wholesome food, unmixed with tea, coffee, or condiments, 
their bodies would be preserved in a natural state, and their 
brains kept in a clear condition for mental work. We cannot 
deny that our food and drink have a great influence upon our 
lives, and affect our spiritual and mental, as well as our ma- 
terial, progress. People pay too little attention to the selection 
and preparation of food and to the manner of eating. Children 
often are allowed to gratify their appetites at the expense of 
their mental and physical condition, and when they break down 
in health the parents blame the '^ over-crowding " in the public 
schools, and attribute the delicate health of their children to 
hard study, instead of ascribing it to their own tables. 

The eyesight is very much affected by the condition of the 
digestive organs. Close attention to the book and busy work 
at school may tax the eyes, but danger from that direction is 



ALCOHOL AND TOBACCO. 147 

not nearly so great as from a deranged stomach. The dark, 
blurring spots that come before the eyes arise from nervous- 
ness, which is induced by indigestion. 

Some time ago, in a juvenile paper, a number of letters were 
published in answer to the question, " What do school children 
take for lunch ? " One little girl wrote : " My favorite lunch is 
potted tongue sandwich, an orange, and a piece of mince pie." 

Another wrote : '' A little girl who used to go to our school 
brought for her dinner a lemon, an orange, a cream puff, and a 
great big green pickle ; but now she has gone to California for 
her health." 

We rarely eat slowly enough to mix the saliva with the food 
and fit it to be readily acted upon by the stomach fluids. 

A good rule for establishing the habit of deliberate masti- 
cation would be to count fifteen or twenty chews, at least, on 
every mouthful of food before swallowing it. 

The kindergarten idea of table training is a most excellent 
one, because eating should be considered a social as well as a 
material act, and can be used as a means of cultivating man- 
ners and morals. 

Industrial schools, where scientific training is given in the 
matter of selecting and cooking food, should prove a means of 
diminishing dyspepsia and of preserving health. 

ALCOHOL AND TOBACCO. 

This body that we live in is, in a sense, the universe to us. 
We get no light save that which comes in through this strange 
skylight of the brain. '•' The man wonderful lives in a house 
beautiful," and it is all in all to him. It was meant to be 
his perfect instrument and not his prison. It was meant 
to be the temple of the Holy Spirit, but enemies are ready 
to take possession of it. 

The alcohol and nicotine poisons, leagued with bad food, 
unnatural dress, bad ventilation, and ill-proportioned exercise, 
are the demons that besiege the sacred citadel. To protect 
this body, we should know the laws of health first of all. 



H^ PHYSICAL EDUCATION. 

The blessed word " health " once literally meant '' holiness," 
and that means simply '* wholeness." 

" To the schoolhouse door come white and black, native and foreign- 
born ; inside its walls are spent their formative years, and the laws of 
their being, as set forth by science, must appeal to their self-love, an attri- 
bute upon which we may always confidently base our calculations. .The 
parent who learns that the laws of nature take sides with total absti- 
nence will gradually cease the cry of 'fanaticism.' His boy comes home 
from school and tells him that, in time of pestilence and sunstroke, the 
beer-drinkers pay the forfeit, and the total abstainers get off scot free; that 
these last are at a premium with the life insurance companies ; that they 
win in the athletic games ; that they are the successful explorers and vic- 
torious soldiers, and that chemistry, physiology, and hygiene prove that 
this rrhust always be so." 

Instructors in physical education, while aiming at the 
highest development of the body, should not lose an opportu- 
nity to impress upon the minds of students the great value of 
scientific temperance knowledge and practice. Tell them what 
alcohol is ; how it is made, and that it is always a product of 
decay ; what it will do to a human being, and what it will 
make him do ; that the experience of those who go under 
systematic training, in order to accomplish the highest feats 
of physical strength and endurance, proves that alcohol and 
tobacco are enemies to the human system. 

Alcohol not only retards the development of tissue, but 
produces fatty degeneration ; it injures the eyes ; it causes 
the nerves to lose their force, and sends the blood rushing 
through the valves of the heart and over the cells of the lungs 
so rapidly that it strains and irritates them. Alcohol changes 
good to evil ; it takes away property and home ; destroys 
character, and makes more people poor and unhappy than any 
other cause. 

Tobacco is just as seriously, but perhaps more quietly, 
sapping the strength and destroying the vigor of this gen- 
eration. After twelve years of careful investigation in the 
laboratory of elementary school life, we hear a- thoughtful 
superintendent say : 



ALCOHOL AND TOBACCO. 1 49 

" In my school experience I have found children of all grades and ages 
addicted to the use of tobacco ; I have observed that poor scholarship, and 
frequently bad deportment, were associated with boys who smoke. This 
habit has explained to me why, in many instances, a boy has failed in his 
work, declined in health, lost manly conduct, self-respect, and regard for 
his parents and teachers. From the use of tobacco, we find boys stunted 
physically, and the power to apply themselves to study wholly destroyed. 
Pupils under its influence are constant subjects for discipline at home and 
at school, lessons are not learned, the truth is not told, and deceptions are 
practiced." 

Formation, not reformation, should be the educational 
watchword of to-day. We must have in our schools a system 
of scientific instruction which both forewarns and forearms ; 
this is the only road out of the bondage of evil habits for 
American children. 

The study of the body, its physiology, its powers, and the 
habits and influences that either destroy or build it up, give 
the truest preparation for temperance. 

"Total abstinence that results from knowing what alcohol, tobacco, 
opium, and some of the other narcotics will do to the human system ; that 
grows out of an intelligent determination to protect one's self from the 
terrible consequences resulting from the use of these narcotics, is the only 
type of abstinence that will withstand temptation, and the only trustworthy 
foundation upon which can be built the stanch, reliable manhood and wom- 
anhood that this form of government must command for its safety and 
continuance." 

In 1844 Governor Bartley, of Ohio, said : '' The first and 
most important of all political measures is to quicken, strength- 
en, and educate \.\\^ youthful mind ^ Educating children in the 
necessity for total abstinence, from a scientific standpoint, is 
laying the foundation for a conscientiously abstaining people. 
In early years, then, the children of this nation should be 
taught to understand that, without abstinence from habits and 
indulgences that degrade and tend to destroy, the highest pos- 
sible mental and bodily attainments of which the individual is 
capable can never be realized. A great and grave responsibility 
thus rests upon the educators in this Republic. 



Part II. 

READING AND DECLAMATION. 

READING. 

Reading does not consist in simply scanning the lesson, nor 
in mumbling aloud, but in getting the thought from the page, 
and in either comprehending it silently or expressing it orally. 

The primary preparation, which implies the mastery of the 
sounds and their representatives, in easy combinations, is sim- 
ply the five finger exercises and scales of the subject, and must 
be as thoroughly mastered in beginning reading as the rudi- 
mentary principles in beginning music. 

Silent reading, which involves a constant exercise of the 
mind, is preliminary to oral reading. After the comprehension 
of the thought comes the art of reading, which is largely a 
matter of physical power and good taste. It includes a pride 
in delivery, and depends very materially upon the muscular 
cultivation and control of the breathing and vocal apparatus. 

In order to acquire proficiency in delivery, have the pupils 
practice with reference to giving as well as getting thought, 
and read as though an audience were in view whose wants 
they were trying to meet. Oral reading has little purpose 
except to give pleasure and satisfaction to others, and it is no 
favor to the hearers if the delivery is such as to cause them an 
effort to understand, and so make a labor out of listening. 
('5") 



READING. 151 

To carry out the following plan with a reading lesson of 
ordinary length will take the usual scheduled recitation and 
study time of at least three days, perhaps longer ; but an 
occasional lesson prepared in this way will be time well spent, 
and will yield an ample return in established habits of thought 
gathering and careful expression. There should be a gradual 
progression in the length and difficulty of the lessons selected. 

Outline for a Special Readiiig Lesson. 
Gratn^nar Grades. 

Preparation. — Mental Basis. 

In the seat work, the preparation is conditioned on a men- 
tal basis, and requires careful study before coming to recita- 
tion. Reference books, such as encyclopedias, gazetteers, 
geographies, and histories, should be at hand. 

1. Select, mark diacritically, and define new words. (The 
number may be limited to five or ten.) 

2. Select synonyms or like expressions. 

3. Select best thought. 

4. Look up, 1st, biography of persons; 2d, location and his- 
tory of places ; 3d, historical or scientific references. 

5- Read carefully for the thought. 

Recitation. 

1. Make a blackboard list from the new words selected, ar- 
ticulate, pronounce, and apply them ; also from the synonyms 
and best thoughts. 

2. Review the fourth point in the preparation. Try to 
secure free thinking and good, talking. 

3. Tell the story in your own language. 

4. Give new thoughts suggested, and the moral teaching of 
the lesson. 

In making the blackboard lists call on some pupil to write 
his selections upon the board, while the others check the words 
off on their own papers; so continue to call on the pupils in 



152 PHYSICAL EDUCATION. 

order, each giving his unchecked numbers until a complete list 
of the unlike words or terms shall be grouped on the black- 
board for drill and discussion. This drill should have a practical 
bearing upon the pupil's own use of the English language. 

Articulation should receive careful and due attention,- for, 
after the comprehension of thought, it comes as the next most 
important requisite to good reading. 

Some one has said : 

" Words should be delivered out from the Hps as beautiful coins, newly 
issued from the mint, deeply and accurately impressed, perfectly finished, 
neatly struck by the proper organs, distinct, in due succession, and of due 
weight." -^ 

Class Drill. — Physical Basis. 

There can be no easy, free, and full action of the organs of 
expression unless the body is in good condition and position. 

Give a class drill in gymnastics, standing positions, and 
breathing. With words and passages chosen from the lesson, 
practice vocal exercises ; placing and projecting the tone ; open- 
ing the throat, by depressing back of the tongue ; drawing 
down the larynx and raising the soft palate ; using lips ; lifting 
eyes from page while speaking ; and concert reading. Use 
concert reading but rarely. Its principal merit lies in the fact 
that it banishes the restraint and timidity so often painful in 
individual recitation. Responsive or pause reading has the 
same virtue, and also that of gaining attention. 

Oral Reading. — Mental, Moral, and Physical. 

If the foregoing preparation has been faithfully made, the 
pupil will understand the thought, and will have gained suffi- 
cient control of the voice and ihe elements of expression to 
read aloud with naturalness and accuracy. It will greatly aid 
in bringing out the meaning, to group the inferior words around 
the thought words. In no case allow the pupil to blunder along. 
Stop him ; he cannot interpret to others that which he does not 
understand himself. Lead him to comprehend the meaning, 



ARTICULATION. . '153 

then the thought, and his feehngs will prompt the right expres- 
sion, and his tones and manner will carry the living picture of 
the scenes and events described. 

"To this one standard make your just appeal, 
Here lies the golden secret, ' Learn to feel.' " 

The live teacher can use many devices in the reading class 
which will awaken an interest in and cultivate a taste and love 
for good reading — acquirements which, when once gained, will 
prove a more valuable possession to any young person than a 
legacy of gold. 

ARTICULATION. 

Articulation is the proper and distinct utterance of each 
and all of the elementary sounds combined in a word. 

Articulation, as well 2.?> pronunciation, is a question of indus- 
try, and requires careful practice for the purpose of gaining 
nimbleness of tongue, mobility of lips, accuracy, strength, and 
rapidity of expression ; such an utterance as can be easily 
understood, without detracting from the pleasure of the 
auditor. In the sam^ measure with which the consonants 
are articulated accurately, will the speech be clear and effect- 
ive. These stumbling-blocks of speech are really the ele- 
ments which give meaning and finish to the words, while the 
vowels give sound. For instance, let us take a, a sound without 
meaning. Prefix b, and add r, and we have meaning in bar. 
Now add n, and with little change in sound, the meaning is 
entirely different. Drop n, and affix either k or d, and we have 
bark ox bard, so similar in sound, and yet so different in mean- 
ing. In this way, by changing the initial or final consonant, 
whole families of similar sounds, each word with a different 
meaning, can be formed. 

This consonant power to give significance to words teaches 
the importance of careful articulation, and how, by the slovenly 
treatment of one sound, the sense of an expression may be per- 
verted or entirely destroyed. 



154 ' PUYSICAL EDUCATION. 

Articulation should he taught with reference to the manner of formin^r 
the sounds, that is, as to the org-ans or parts of the moutii with which they 
are to be influenced, formed, and finished, and each j)honetic sound should 
be carefully dwelt upon until its muscular sensation becomes so familiar 
that it can be practiced by simply thinking the position, in a kind of gym- 
nastics of sound, just in the same way in which visible speech is made 
manifest. By practicing the elementary sounds it becomes plain that the 
vowel sounds are produced through open shapes of the organs, while 
consonant sounds are made with i^rips and starts, and changing shapes 
of the organs ; for example : c is produced througii an unchanging open 
throat and mouth. (In sounding most of the vowels the lips are drawn 
back, showing both ranges of the teeth.) J/ is made by a grip of the lips, 
and p by a grip and start of the lips. 

The following exercises contain difificult combinations for 
practice : 

Initial Consonants. 

To hold the initial consonant gives strength to the word. 

Boa, come, daily, fury, grave, Joe, fly, kingly, lofty, modulate, now. 

Final Consonants. 

Orb, arc, add, and, off, ^%<g, ark, annal, arm, on, elm, alp, against. 

Initial and Final Consonants. 

Nasal, queen, strict, tax, wouldst, didst, triumphs, singing, gained. 

Varied Exercises. 

The groves were God's first temples. 

Honest endeavors will finally succeed. 

When the rain ceaseth, it ceaseth to rain. 

Round the rough rock the ragged rascal ran. 

The bars marred the beauty of the stars. 

Sounds and motion forever and ever are blended. 

Beasts and creeping things are found in the forests of Asia. 

It is the first step that costs. 

They sailed on an ocean of blue. 

There's hope for all. 

She told the news to her uncle. 

Kinsmen kill kindred, kindred kinsmen kill. 

She is a nice creature. 

A versifier wants a very wonderful variety of words. 



AR TICULA TION. 155 

Yield, yield, ye youths ! Ye yeomen, yield your yell ! 

Should you, would you, could you, educate a graduate ? 

The attitude was not at all pleasing. 

He went over the mountain and found mines of gold. 

Won't you, can't you, don't you congratulate me ? 

An Austrian army awfully arrayed, 

Boldly by battery besieged Belgrade. 

Vowels Likely to be Dropped. 

D/vine, regz^larly, p^^rticularly, sensible, sz^pport, presumptuous, lit<?r- 
ary, nec<?ssary, mis<?rable, venerable, constitution, cemetery. 

In the preparation of a lesson a special list, arranged ac- 
cording to initial and final consonants, should be selected for 
articulation. An excellent drill is given by taking one sentence 
from the selection ; having one pupil articulate every element, 
the next enunciate every syllable, another pronounce every 
word, and finally having some one read the words connectedly, 
and with expression. 

For nimbleness of tongue, pronounce the word " bell," and continue 
repeating the " 1 " as rapidly as possible. 

Bell-1-1-1-1-1-1 ; 

Also — La-la-la-la-la-la-la-la-la, and 

Trill " r " r-r-r-r-r-r. 

Nothing will give clearness of articulation better than to read the 
exercises in a staccato whisper, being careful to utilize the breath so that 
no sound of breathing may be heard. 

Read Longfellow's " Psalm of Life " in this whispered manner. 

To form a table for rapid practice take any consonant and use it first 
as an initial, then as a final, with any vowel or combination of letters, viz. : 

Ba, be, bi, bo, bu. 

Ab, eb, ib, ob, ub. 

Bra, bre, bri, bro, bru. 

Arb, erb, irb, orb, urb. 

Rab, reb, rib, rob, rub. 

Bar, ber, bir, bor, bur. 

Bla, ble, bli, bio, blu. 

Alb, elb, ilb, olb, ulb. 

Lab, leb, lib, lob, lub. 

Bal, bel, bil. bol, bul. 



156 PHYSICAL EDUCATION. 

E, ah, 00. Practice slowly, with and without sounding-, for lip gym- 
nastics. 

By the embarrassing- conditions attending introductions, in which we 
so often hear, " What is the name, please ? " we are convinced that proper 
names are very indistinctly pronounced. But few people can tell even 
their own names well. As a test of the articulation and clearness of tone 
used by school children, have some one unacquainted with the names turn 
his back to the school and try to repeat the names of the pupils as they 
themselves pronounce them. It will be a very amusing test of speech to 
hear "Willie Baircl " and "Dannie Joslyn " called "Nellie Bear" and 
" Anna Johnson." 

This drill on i\\e proper names of the school children furnishes a most 
excellent and varied exercise for practice in articulation, and in connection 
with it a talk upon and practical illustration of the formal introduction 
may fittingly be presented. 

In the introduction, the form is not a matter of so great importance as 
is the distinct and clear articulation of the names. One child may be re- 
quested to rise, bring forward a school friend and introduce him to the 
teacher, naming her first, and then excuse himself. The pupil brought 
forward then in his turn chooses a friend, whom he introduces, and then 
excuses himself, and so on. each in his turn receiving and giving *an 
introduction. 

DECLAMATION. 

If it is desired to make a recitation of the lesson read, or of 
any selection, commit the words exactly, and after the mental 
picture has been clearly formed in the mind, apply the gestures, 
bringing out the scenes and characters graphically and properly 
disposing them on the right and left as the interpretation and 
imagination direct. 

Gesture. — Illustrative, Directive, and Emotive. 

Illustrative. 

Suits the action to the word. 
" Each horseman drew his battle blade.'' 

Directive. 

Points out person, place, or thing, and carries the eye of the 



DECLAMA TION. 1 5 7 

spectator to the object spoken of, either visible or located by 
imagination. 

These gestures must be arranged with pictorial accuracy and taken in 
upper, middle, and lower lines. 

Upper Line. — The hand and eye must be elevated above horizontal or 
shoulder, as in locating mountains, speaking of the firmament or of any 
object above the speaker. 

Middle Line. — In addressing persons near by, or in speaking of objects 
at a distance, the hand takes the middle line, which lies between the 
shoulder and the waist. 

Lower Line. — The hand falls below the waist line in pointing to objects 
near or below the level of the eye. 

Emotive. 

An outward expression of an inward feeling. 

"Stay, lady, stay, for mercy's sake, 
And hear a helpless orphan's tale." 

A Few Important Rules for Gesture. 

1. First, stand properly. Half the battle is gained when we have 
assumed the right position and can change the poise at will. 

2. No gesture should be made without a reason. 

3. Uniform strains require little gesture, while variable, passionate 
expressions require many. 

4. The hand and fingers must be carefully trained. 

If the joints are stiff and angular, practice the Decomposing and Feather 
Movements ; the second and third fingers should lie together and curve 
somewhat more than the first and fourth, and be separated from the first 
a little below second joint from knuckle. There should be a curve inward 
from the tip of the thumb to the wrist. The thumb never falls into the 
palm of the hand unless to signify treachery or weakness. 

5. The eye precedes and accompanies the motion of the hand, yet does 
not look after it constantly, but returns to the audience. 

6. Every accented motion must have a slight preparatory movement in 
the opposite direction. 

7. Except in violent passion, the lines of gesture must be in curves. 
Mentality is expressed by inward lines, passion by outward lines. 

8. Having located any fixed object, we must recur to the same point in 
again speaking of it. 



IS8 PHYSICAL EDUCATION. 

9. The eye precedes the gesture, which is generally made before the 
word is spoken. 

" Art conceals art ; it covers up its tracks." — Parsons. 



Concert Dec la mat ion . 

In general concert declamation drill, with gesture, we can 
make a practical application of the self-control, easy move- 
ments, and good tones gained by the mechanical work in 
physical culture. 

Attention to general declamation leads up to a more care- 
ful preparation in individual declamation for Friday afternoon. 
These much talked of exercises are, more often than otherwise, 
a farce, and a useless waste of energy. In the work of pre- 
paring " Rhetoricals," certain rules should be followed, viz.: 

1. Before memorizing, present the selection for the teacher's approval. 

2. By rehearsal, give evidence of preparation. 

3. Teacher's criticism. 

4. Pupil's correction. 

5. Public delivery. 

It is a somewhat dif^cult task to select a recitation suitable 
for school concert drill. The following have proven to be 
excellent for the purpose : 

Grammar Grades. 

1. The Burial March of Dundee. 

2. Sandalphon. — Longfellow. 

3. Bennie's Reprieve. — Mrs, Robbins. 

4. The American Flag. — Drake, 

5. Lincoln's Gettysburg Oration. 

6. The Ship of State. — Longfellow. 

7. The Rescue of Chicago. — H. M. Look. 

8. Sheridan's Ride. — T. Buchanan Read. 

9. The Two Bells. — J. W. Sanborn. 

10. How He Saved St. Michael's.— Mary A. Stansbury. 

11. The Owl Critic. 

12. Abou Ben Adhem.— Leigh Hunt. 



DE CLA MA TION. I 5 9 



13. The Rising.— T. B. Read. 

14. The Ride of Collins Graves. 

15. Jamie Douglass. 

16. William Tell to the Alps, 

Intermediate Grades. 

1. Little Brown Hands. — M. H. Krout. 

2. In School Days. — Whittier. 

3. The Psalm of Life. — Longfellow. 

4. What I Live for. 

5. The Children's Hour. — Longfellow. 

6. Somebody's Mother. 

7. The Three Bells.— J. G. Whittier. 

Primary Grades. 

1. Seven Times One. — Jean Ingelow. 

2. The Legend of the Northland. 

3. The Chicken's Mistake. — Cary. 

4. How the Leaves Come Down. 

5. The Five Little Chickens. 



Temperance Selections. 

It is often found desirable to give recitations bearing on the 
subject of temperance, and yet they are rather difificult to find. 
We therefore give references for a number of selections of that 
character. Outside of the '' Demorest Series," which contains 
temperance readings only, the following excellent list is to be 
found in ''One Hundred Choice Selections : " 

1. The Two Roads, In No. i 

2. I Have Drank My Last Glass, " 6 

3. Strong Drink, " 8 

4. Away from the Wine Cup, Av^^ay, " 9 

5. The Ode to Rum, " 9 

6. The Cause of Temperance, " 9 

7. Good-night, Papa, " 10 

8. Temperance Rhymes, " 12 

9. Temperance Pearls, " 13 

10. What the Temperance Cause has Done for John and Me, " 14 



i6o 



PHYSICAL EDUCATION. 



11. A Sign Board.— Ella Wheeler Wilcox, 

12. The Two Glasses, 

13. The Traffic in Ardent Spirits, 

14. The Orphan's Prayer, 

15. Temperance.— Wendell Phillips, 

16. Praying for Papa, 

In the *' Best Selection Series " we find: 
17- The Bridal Wine Cup, 
18. The Two Pictures, 



In No. 



14. 

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19. 

20. 
25. 



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16. 



161 



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RINTELMAN'S GRAND MARCH 




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5: TRIO. 

//• ^> r> .... . ^ .... 

•''•'' — ^==- i) melodia marcaio. 






:U;^ 



p melodia man 






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t 1 \-^ — I ^-1 1 -\-. — H--] — l-.-J 1 , 



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108 



(For the " Feather Movements," |)a.ii:e39.) 

CORN FLOWER WALTZES, 



ip 



espress 






y5 



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p 



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^:=:rtzsz:zr=jztt 






CORN FLOWER WALTZES. 



169 




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I 



a tempo. 



ElE.^fe^Tte^ESE^EE^S?E?E±?^: 



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d: 



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i?^ij::^^zcqf5^^izl:::;:r==::r;|:| 



170 



( For the " roisinsj; F.xercises," pasfc 32. 

BREEZE OF NIGHT, 

WALTZ. 



••8: 



Gkokcjks Lamothe, Op. 91, 






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giz=z:5~N=Fiq— J=:5;=^N-^=F=^=J^=fq= 



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BREEZE OF NIGHT. 



in 



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:tzit: 



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172 



PHYSICAL EDUCATION, 



Delicatamente. .^_^ -fL. 'f:m -f: -f!zm 
o i-x-l-^-g-yr»-^-^-^-|— rF H-f-m\ .-rl R-^-»-r -i 



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BREEZE OF NIGHT. 



173 



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*>. V 3 •- -4—7 H— 9 

^ t- f: f:flf?l^_f=t=f=^ It -•- it delicatamente. ^^.^^ 



/ 



§g ^j^li^E4^iEg5ifei ii 



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S^ipigiip^ii^iSI 



174 



( For the '• Feather Movements." p. 39; and " Postures," p. 04.) 

ILLUSIONI. 

GRAND VALSE. 



Qrandioso. 



G. C. Capitan. 



SI I I 






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ILLUSIONI. 



175 






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PHYSICAL EDUCATION 



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V ^^g- b-^-i — F — F- Fi b-i — Fi — I ! — P^= ii-^-Pz?i — --H-I 



tr^- 






177 



( For the " Giving Exercise," page 71.) 

FROM "THE SHEPHERD BOY," 



G. D. Wilson. 






Fed. 



Fed!' '*'^ Fed. 



jftft. 



pMB 



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a tempo. 
Fed :%. 



I Z>.0. 

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.j^p_ — p_ — I 



178 



( For '• Miirchin<>- iiiul the Steppin;>>- Exercises," pages 77 and 81.) 



THE DARKIE'S DREAM, 



By G. L. Lanstn(; 



Animato. ^__^ ««_ C^"^ , 






t-EEE^ 



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9i, 



gSzrIS: 



-» — *»- 






:N=tN: 



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.__^ ^ , L_^_^_, H-— t— :J 



E^^S^Ipiil^^3^E^^I 






Copyright, 1889, by S. W. Blaik. 



THE DARKIE'S DREAM. 



179 



;^=t== 






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•- - . -•- 



..fi^f: 






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r — r 



?=i=fe?^ 



i^^^'=f^r3Ej3Eq: 



inf: 



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r — t 



i^ '^ 



180 



PHYSICAL EDUCATION. 






^i^^si^^P^I 



77^/ 



:s^l=E^ 



t 



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# — ^— ^- 



ii:t:=a=-*^^- 



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1^—M-rm 



— # — F — • F — ^-r# y^# — I— «ri 1 wd-r- I I ^ — i 1-^— n 



m^^^m^^m0^^i 



(For the " Postures " page 94. ) 

FLOWER SONG, 



181 



BLUMENLIED. 



G. Lange. 




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iz=*:E|t:=zz:tttzz:=5: 



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w- I ^ I I J 



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esprcss. 



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pocojnuf |. 



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tqc 



Perf. 



ftd. 



182 



PHYSICAL EDUCATION. 







Fed. 



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Fed. 



i a a a=d i ' — ' " i=tt±s 




Fed. 



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e1 



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¥ 



FLOWER SONG. 




Fed. 



Fed. 



184 



( For " Club Swinij^iui;," paji^e 114.) 

SILVERY WAVES, 



A. P. Wyman. 



TlIKME. 



Fed. * Fed. * Fed. ^ 

=t -^- -•- 



Ka-f- 






!• ^ 



W- 



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^ 



pli^^^^^'seSiiii 



PefZ. ^_-j- * Fed. 









SILVERY WAVES. 



185 



m^^-p^^ 



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1 



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Var. 1. 



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^SEpg;; 



fej gSf^g JEj^j 



186 



PHYSICAL EDUCATION. 



Sva- 






^-h-h:-»—f— t-j— I— ^ ■m^^"i-«--rT^™!^^— i-H-#-H J— !t- i^^it ^— rPT'^w -t-h-tr- 
-t'^r-9 \ — \-^-+M—^-^-^-M—\-l-m—hS—^-^—\-\-\ — i-*-H H I I h M I ■Ibr^^-P- 






<^ya- 






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\ 1 \\2 

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■9 







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^=^^^lli^iigSiil^S| 










Var. 2. 



•-^ 



SILVERY WAVES. 



187 



Ktrl 



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- - p — p. 



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d: 



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- lit — ti-^-ii — II 



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I=^=^i=:L-t:z:^ 



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5^?^^g^l^^g| 



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188 



(For " Club Swinging," page 114.) 

LOVE'S DREAMLAND, 

WALTZES. 



Con inoto. 



-&: 






Otto Koeder. 



mp 






I ZZ5_^ r c^ r crj r l^ L C^ r 



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#. g. m, 1^. -• ^ :^. ^. 









^^ ^r- iL^ r L^ \ L^ ^_ _L^ 1 












LOVE'S DREAMLAND. 



189 



^^^ 



qq_^_q:^__H 



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1: : 



irj 



sfralle dim. 



l2t- 



^^ r rj ^ c^ r iiz^_^__^zc^__^ ii_^_^zr_p 



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-4— 






^=d: 






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t i ^ t t: f<< 



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190 



PHYSICAL EDUCATION. 




i 



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LOVE'S DREAMLAND. 



191 



fe 






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■3=F=F 



M 



S«»- »•- -«■ -8- -•--,•-- I , « I , •' 



^'i^t^t^?^'^=H=' 






192 PHYSICAL EDUCATION. 

II II II II It 11 

'-^^^^^^^^^^ 

1 L L L^_j 1 , 

I I "^ 1 1 M Tim ' " 




j_^ ,^_ i_ L_i _ _i_l.J ^__ I I ' 



^ \__ . \ J 



feE^E^EE^EEEEFEEEEEFEEEEEEEpiEgEEEEEF=H 

_^ r r s ^ p rr ?j ' i s-i_^ 

-ZL -^-* -^* — ^- ^- -^ -H- 

■"- 3. r|. -^^: — '■*■ -^•-— *■ 



itS'^"^ O*" CONGRESS 



029 712 982 A 



